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GIOVANNI  BATTISTA  PIRANESI 

BY 
ARTHUR  M,  HIND 


h£)  .    VIM     l^ 


EX  LIBRIS 

DONALD  FRANCIS 

FINLAY 


i 


ur 


Limited  edition  of  joo  copies 

440  being  issued  by 

The  Cotswold  Gallery,  London,   IV. 

and  60  by 

E.   Weyhe,  New  York 


Giovanni  Battista  Piranesi 

A  CRITICAL  STUDY 

With  a  List  of  his  Published  Works 

and  Detailed  Catalogues 
of  the  Prisons  and  the  Views  of  Rome 

BY 

ARTHUR    M.    HIND 

OF  THE   BRITISH   MUSEUM 
SLADE  PROFESSOR   OF   FINE  ART   IN   THE   UNIVERSITY  OF   OXFORD 


WITH  FRONTISPIECE  AND  146  ILLUSTRATIONS 


E.    WEYHE 
710  LEXINGTON  AVENUE 
NEW    YORK 

1922 


ntlNTEO  AT  THB  OmVBRSITT  PRESS  OXFORD 

BY  FREDERICK  HALL 

rSIRTER  TO  THE  DNIVERSITT 


Printed  in  England 


PREFACE 

This  work  does  not  claim  to  be  a  general  study  of  Piranesi's  Life  and 
Works.  This  is  well  supplied  in  three  recent  books — those  of  Mr.  Arthur 
Samuel  (London,  1910),  Mr.  Albert  Giesecke  (Leipzig,  1911),  and  M.  Henri 
Focillon  (Paris,  1918),  the  last  being  in  many  ways  the  most  comprehensive,  and 
the  only  one  that  offers  a  complete  list  of  all  Piranesi's  etched  plates. 

I  was  first  attracted  to  the  study  of  Piranesi  in  1910  by  the  series  of  early 
states  of  the  '  Prisons '  acquired  by  the  British  Museum  from  the  late  Mr.  Herbert 
Batsford.  This  led  to  my  article  in  the  Burlington  Magazine  of  May,  191 1, 
which  was  followed  in  the  same  place  in  December,  1913,  and  January  and 
February,  19 14,  by  notes  on  Piranesi's  etched  work  in  general,  with  a  complete 
chronological  list  of  his  published  works  treated  in  somewhat  more  detail  than 
in  either  Samuel's  or  Giesecke's  book.  It  also  gave  a  chronological  list  of  the 
'  Views  of  Rome  '. 

Focillon's  Catalogue  is  definitive  as  far  as  it  goes,  but  it  attempts  no  detailed 
description  of  state.  This  would  be  an  unnecessary  labour  with  regard  to  the 
majority  of  the  plates  whose  interest  is  perhaps  antiquarian  rather  than  artistic. 
But  I  have  felt  that  a  detailed  catalogue  of  the  '  Prisons '  and  '  Views  of  Rome ', 
which  include  the  majority  of  Piranesi's  most  important  plates,  would  be  a  useful 
guide  to  the  collector  who  is  often  baffled  by  the  varying  qualities  of  these  large 
prints  owing  to  the  difficulty  of  comparing  impressions.  Thus  the  earlier  and 
more  lightly  etched  impressions  have  until  quite  recently  been  less  valued  than 
the  later  rebitten  states :  a  judgement  which  careful  comparison  may  induce  the 
amateur,  at  least  in  the  case  of  many  of  the  subjects,  to  revise. 

The  Antichitd  Romane  de'  Tempi  della  Reptibblica  {Arcki  Trionfali)  and  the 
Paestiim  series  contain  examples  of  equal  beauty,  but  in  the  latter  case  the 
question  of  state  hardly  enters,  and  in  the  former  the  division  is  little  more  than 
rebiting  and  change  of  numbers  in  the  later  edition,  details  which  are  sufficiently 
indicated  in  my  List  of  Piranesi  s  Published  Works. 

The  mere  bulk  of  the  volumes  of  Piranesi's  work  has  made  the  necessary 
comparisons,  extending  over  many  years  and  in  a  variety  of  collections,  a 
laborious  business,  and  one  that  I  should  long  ago  have  thrown  up  were  it  not 
for  a  natural  aversion  from  being  baffled  even  where  the  end  to  be  achieved 
is  small.  The  collections  I  have  examined  must  be  a  mere  tithe  of  those  that 
exist  in  the  libraries  of  the  great  English  houses,  whose  earlier  representatives 

a  2 


Iv  PREFACE 

made  the  Grand  Tour  in  the  eighteenth  century ;  collections  which  would 
assuredly  modify  my  description  of  rarities,  if  they  did  not  reveal  much 
additional  matter.  But  I  would  strongly  advise  any  other  Piranesi  enthusiast 
against  diving  into  further  sections  of  the  master's  work  with  the  aim  of  continuing 
the  detailed  catalogue,  unless  he  is  prepared  for  athletics  in  addition  to 
research. 

For  these  further  sections  my  List  of  Piranesi's  Published  Works,  with 
indication  of  plates  in  each  (which  is  here  reprinted  in  revised  form),  in  con- 
junction with  Focillon's  Catalogue,  offers,  I  think,  sufficient  basis  for  study  and 
reference.  But  this  might  well  be  supplemented  later,  if  it  seemed  to  be 
desired  by  subscribers  to  the  present  work,  by  another  volume  of  selected 
illustrations. 

The  introductory  notes  that  follow,  taken  in  part  from  my  earlier  articles, 
have  two  chief  aims,  the  first  bibliographical,  i.  e.  an  examination  of  the  origins, 
dates,  and  content  of  Piranesi's  work  in  relation  to  existing  documents,  the 
second  an  estimate  of  his  place  in  the  history  of  art  and  of  the  comparative 
artistic  value  of  his  different  works.  A  short  biography,  and  some  description 
of  his  remarkable  drawings  complete  their  scope. 

The  work  of  G.  B.  Piranesi's  sons  and  daughter,  Francesco,  Pietro,  and 
Laura,  who  carried  on  their  father's  work  in  etching  and  publishing,  is  not 
included,  except  for  supplementary  notes  on  p.  88,  for  the  transcription  of  the 
summary  List  of  the  Piranesi  Work  in  the  Regia  Calcografia  at  Rome,  and  for 
the  description  of  two  plates  of  the  'Views  of  Rome',  by  Francesco,  which  are 
added  for  the  sake  of  completeness  in  describing  the  series. 

In  the  work  of  comparing  the  states  of  the  '  Views  of  Rome '  I  have  been 
constantly  helped  by  Mr.  Percy  B.  Tubbs,  F.R.I.B.A.,  the  owner  of  a  series, 
which  includes  a  large  number  of  the  early  states,  as  well  as  intermediate  states 
which  I  should  probably  have  failed  to  note  without  his  indications.  He  has 
also  greatly  facilitated  the  making  of  the  book  by  lending  many  of  the  etchings 
for  reproduction.  A  considerable  number  of  the  plates  have  also  been  reproduced 
from  the  stock  of  the  Cotswold  Gallery,  e.  g.  impressions  in  the  rare  state  with 
Bouchard's  address,  the  British  Museum  and  the  Soane  Museum  only  providing 
a  few  rarities.  I  would  like  here  to  record  the  kind  assistance  given  me  by  the 
late  Curator  of  the  Soane  Museum,  Mr.  Walter  L.  Spiers,  F.S.A.,  and  by  his 
successor,  Mr.  Arthur  T.  Bolton,  F.S.A.,  F.R.I.B.A. 

I  am  greatly  indebted  to  Dr.  Thomas  Ashby  for  many  archaeological  and 
topographical  notes  incorporated  in  the  catalogue  of  the  '  Views  of  Rome  ',  and 
I  would  thank  Mr.  Arthur  H.  Smith,  and  my  colleagues  in  the  Department 
of  Greek  and  Roman  Antiquities  at  the  British  Museum,  for  help  on  many 
occasions. 

A.  M.  H. 


CONTENTS 


Bibliography 

Collections  consulted  and  abbreviations  used 

List  of  Illustrations  

I.  Biographical 

II.  Notes  on  Piranesi's  Work    .... 

III.  The  'Prisons'.    Notes  and  Catalogue 

IV.  The  'Views  of  Rome'.    Notes  and  Catalogue 

Introductory  Notes 

The  Engraved  Catalogue  of  about  1779 

The  Classified  List  from  the  printed  Catalogue  of  1792 

Catalogue 

V.  List  of  Piranesi's  Published  Works  . 

List  of  the  Piranesi  Work  in  the  Regia  Calcografia,  Rome 

Index  to  Published  Works,  and  to  Subjects  of  the  'Views 
OF  Rome' 


page 
vii 

ix 

xii 

I 

4 

a4 

30 
30 
34 
35 
38 

74 
89 

91 


BIBLIOGRAPHY 

CEuvres  des  Chevaliers  Jean-Baptiste  et  Frangois  Piranesi  qu'on  vend  separStnent  dans  la 
Calcographie  des  auteurs,  Rue  Felice,  pr^s  de  la  Trinite  de  Monts,  &c  pp.  29.  Rom  e, 
1792.    British  Museum  (Department  of  Prints  and  Drawings). 

Calcographie  des  Piranesi  frires.  CEuvres  de  Jean-Baptiste  et  de  Frangois  qui  se  vendent  chez 
les  Auteurs,  k  Paris  rue  de  I'Universitl,  Depot  des  Machines,  no.  296.  pp.  18.  Ends:  De 
rimprimerie  de  Prault,  rue  Taranne,  no.  749,  k  I'lmmortalitS.  Ann.  viii  de  la  Republique 
(i.  e.  1800). 

Le  Grand,  J.  G.  Notice  historique  sur  la  vie  et  les  ouvrages  de  G.  B.  Piranesi.  Compiled 
by  Legrand  from  materials  supplied  by  Giovanni  Battista's  son,  Francesco  Piranesi . 
Apparently  intended,  but  never  used,  as  introduction  to  the  proposed  French  edition  of 
Piranesi's  text.  Paris,  Bibl.  Nationale,  Manuscrits,  Nouvelles  Acquisitions  Frangaises 
5968. 

BlANCONi,  G.  L.  Elogio  storico  del  Cav.  G.  B.  Piranesi.  In  Antologia  Romana,  1779, 
nos.  34,  35  and  36  and  G.  L.  Bianconi,  Opere,  1802,  ii,  pp.  127-40. 

BiAGi,  Pietro.    SuU'  incisione  e  sul  Piranesi.    Venice,  1820. 

Life  of  the  Chevalier  Giovanni  Baptista  Piranesi.     The  Library  of  the  Fine  Arts,  ii  (1831),  8. 

CORBEILLE,  L.  A.     Giovanni  Battista  Piranesi.     The  Dome, '\\  {\%<^\  \j. 

Sturgis,  Russell.    The  Etchings  of  Piranesi.    New  York  (Keppel),  1900. 

Young,  William.  Roman  Architecture,  Sculpture,  and  Ornament.  Selected  examples  from 
Piranesi's  monumental  work.    London,  1900,  fol.  (14  pp.  text,  and  200  plates). 

Samuel,  Arthur.    Piranesi.    London,  igio. 

GiESECKE,  A.    Giovanni  Battista  Piranesi.    Meister  der  Graphik,  Bd.  vi.    Leipzig  [191 1  ]. 

GlESECKE,  A.  Vedute  di  Roma,  von  G.  B.  Piranesi,  137  pis.  in  facimile.  Berlin  (Weise  &  Co.), 
1913,  &c 

Hind,  a.  M.  G.  B.  Piranesi  and  his  Carceri.  Burlington  Magazine,  x\x  (1911)  8l.  G.  B. 
Piranesi :  some  further  notes,  and  a  list  of  his  works.  Burlington  Magazine,  xxir 
(1913-14),  13s,  187,  262. 

Lange,  p.  Ausgewahlte  Werke  von  J.  B.  Piranesi.  {Bauschatz,  Ser.  2,  1879  &c.). 
1885-8.    fol. 

ROGER-MiLES.     Le  Style  Piranesi.    Paris,  n.  d. 

Rome,  Regia  Calcografia.  Catalogo.  Rome,  1891.  [There  are  numerous  earlier  and  later 
editions,  but  this  is  apparently  the  only  one  containing  a  complete  list  of  Piranesi's  plates. 
The  others  contain  a  list  of  titles  of  the  various  works,  and  only  cite  the  separate  plates  in 
the  case  of  Views  of  Rome.    See  below,  p.  89]. 


viii  BIBLIOGRAPHY 

Hermanin,  F.    Gabinetto  Naiionale  delle  Stampe  in  Roma.    Catalogo  delle  incisioni  con 
vedute  Romane.    Le  Gallerie  Nazionali  Italiane,    iii  (1897)  and  iv  (1898). 

Lanciani,  R.  a.    The  Ruins  and  Excavations  of  Ancient  Rome.    London,  1897. 

Amelung,  W.,  and  H.  Holtzinger.    The  Museums  and  Ruins  of  Rome.    English  edition, 
revised  by  the  authors  and  Mrs.  S.  Arthur  Strong.     London,  1906. 

(Euvres  choisies  de  J.  B.  Piranesi.    Reproductions  de  I'oeuvre  dessin^  et  grav€  dc  1746  k  1778. 

Paris  (A.  Vincent),  1 91 3.    fol. 
SCHULZ,  O.    Goethes  Rom  in  50  Abbildungen  nach  Stichen  von  Giambattista  Piranesi.  Leipzig, 

1913- 
Moore,  B.  B.    Giovanni  Battista  Piranesi.    Print  Collector's  Quarterly,  ii.  (1912)  105,  341. 

IviNS,  W.  M.,  Junior.    Piranesi  and  'Le  Carceri  d'Invenzione '.    Print  Collector's  Quarterly, 
v.  (191 5)  191. 

A  Catalogue  of  Prints  of  Views  in  Rome  and  Paestum  by  G.  B.  Piranesi.    Printed  for  private 
circulation  by  B.  T.  Batsford,  94  High  Holborn,  London,  n.  d.  [1913]. 

Selected  Etchings  by  G.  B.  Piranesi,  with  an  introduction  by  C.  H.  Reilly.   Technical  Journals: 
Westminster  [1914,  &c.]. 

FociLLON,  Henri.    Giovanni  Battista  Piranesi,  1720-78.    Paris,  1918. 

FociLLON,  Henri.    G.  B.  Piranesi.    Essai  de  Catalogue  Raisonn^  de  son  oeuvre.    Paris,  1918. 

ASHBY,  Thomas.    Review  of  Focillon's  Work.    Burlington  Magazine,  November,  191 8. 

Hermanin,  F.    Giambattista  Piranesi,  Architetto  Incisore.    50  Tavole  con  Introduzione  di 

F.  H.    Turin.    [About  1914  or  15?] 

MuSoz,  A.    G.  B.  Piranesi :  con  prospetto  bibliografico  e  un  indice  di  tutte  le  opere  incise  da 

G.  B.  Piranesi.    Rome,  Milan,  1920. 

MORAZZONI,  G.    G.  B.  Piranesi.    Notizie  biografiche.    Milan,  1921. 


COLLECTIONS   CONSULTED   AND   ABBREVIATIONS 

USED 

Certain  references  are  made  in  the  Catalogue  to  rarities  in  Foreign  collections, 
but  I  have  not  personally  consulted  these  in  the  study  of  Piranesi. 

B.M.     British  Museum,  Department  of  Prints  and  Drawings. 

A  miscellaneous  collection  of  separate  prints  including  a  large  number  of  early 
states  of  the  Vedute  di  Roma,  the  early  edition  of  the  Carceri  with  title  in  second 
state,  and  a  rejected  plate  of  the  Paestum  series  (reproduced  on  my  pi.  LXXIV). 

B.M.L.  ]  British  Museum  Library. 

B.M.L.,  ■     There  is  a  very  good  collection  in  the  Library,  the  only  volume  not  represented. 
King's,    though  all  the  plates  of  this  edition  occur  in  other  works,  is  Le  Magnificenze  di 

Roma,  1751. 
There  are  two  sets  (one  in  the  King's  Library)   apart  from  the  edition   with 

Firmin-Didot's  titles  dated  Paris,  1835-9. 

SOANE.   London,  Sir  John  Soane's  Museum. 

A  good  collection  with  several  rarities,  including  the  volume  with  title  Le  Magni- 
ficenze di  Roma,  1751,  an  early  issue  of  some  of  the  plates  of  the  Antichitd.  Romane, 
under  the  title  Camere  Sepolcrali,  early  edition  of  the  Opere  Varie,  and  early  edition 
of  the  Carceri  with  title-page  in  second  state. 

S.K.      London,  Victoria  and  Albert  Museum,  South  Kensington. 

Department  of  Engravings.  First  Paris  Edition  (27  vols.,  1800-7).  Bound 
in  green  paper  backs,  and  greenish-blue  marbled  sides,  with  binder's  label  inside  covers. 
Rue  de  la  Harpe  \  Au-dessus  de  celle  de  Midecine,  N°  IJ2  ;  \  TESSIER,  |  Relieur 
el  Doreur  \  de  la  Trhorerie  Nationale,  du  Bureau  \  de  la  Guerre  \  et  Calcographie 
piranesi  \  A  PARIS  [on  some  labels  it  reads  N»  136].  From  collection  of  the 
architect  Decimus  Burton.  Purchased  about  1864.  The  Vedute  di  Roma  are  vols. 
i6  and  17. 

S.K.L.    London,  Victoria  and  Albert  Museum,  the  Library.    Intermediate  Paris 
Edition  of  the  Vedute  di  Roma.    Purchased  1863. 

London,  Royal  Academy. 
A  good  collection. 

London,  Royal  Institute  of  British  Architects. 
A  good  collection. 

London,  Society  of  Antiquaries. 
A  few  volumes. 


X  COLLECTIONS  CONSULTED 

Oxford 

(i)  Bodleian. 

A  good  collection.  Contains  the  rare  volume  Lettere  di  giustificazioru  scritte 
a  Milord  Charlemont,  1 75  7. 

(2)  ASHMOLEAN. 

A  good  collection  in  twenty  volumes.  Contains  seven  plates  of  the  early  edition 
of  the  Carceri,  with  title  in  second  state. 

(3)  Taylorian. 

A  series  in  sixteen  volumes. 

Cambridge,  Fitzwilliam  Museum. 

A  good  collection  in  thirteen  volumes  (wanting  the  following  nos.  in  Focillon's 
Catalogue,  13  bis,  19,  40,  45,  72-119.  369,  380,  382,  399.  4oo,  987-90,  99i)-  AH 
the  volumes  contain  Lord  Fitzwilliam's  autograph  and  the  year  in  which  he  acquired 
them  (i.e.  1781  for  the  most  part,  a  few  in  1786  and  1790). 

Chatsworth.    The  Duke  of  Devonshire. 

Most  of  the  important  works.  Also  nos.  I,  3,  3,  8,  9,  14,  15,  16,  17,  19,  35,  38,  40, 
56  of  the  Vedute  di  Roma  in  the  early  state  before  price  and  address.  No.  16  occurs 
in  two  early  states,  one  being  a  proof  before  all  letters. 

The  Marquis  of  Lansdowne. 

Incomplete  set  of  the  First  Paris  Edition.  Bound  in  same  form  and  with  same 
binder's  label  as  the  complete  set  at  South  Kensington.    Vols.  8,  12-18  and  22. 

Blomfield.    Sir  Reginald  Blomfield,  R.A. 

The  rare  volume  Le  Magnificenze  di  Roma  1 751,  with  the  miscellaneous  collection 
of  plates  (early  state  of  Carceri^  &c.),  in  addition  to  the  early  states  of  the  Vedute  di 
Roma. 

Windsor,  Royal  Library. 

Incomplete  set,  but  contains  the  most  important  work  in  fine  impressions  (Opere 
varie,  Antichitd.  Romane,  Paestum,  &c.).  The  Vedute  di  Roma  are  incomplete 
(thirty-nine  impressions).  Contains  the  rare  volume  Lettere  di giustificazione  scritte 
a  Milord  Charlemont,  1757. 

Manchester. 
(i)  John  Rylands  Library. 
From  the  Spencer  collection  and  other  sources. 

(2)  Manchester  Society  of  Architects. 

(3)  Cheetham's  Hospital  and  Library, 

There  are  good  collections  in  the  above  (i),  (2),  (3),  and  also  volumes  in  other 
Manchester  libraries. 

See  H.  Guppy  and  G.  Vine,  A  Classified  Catalogue  of  the  Works  on  Architecture 
in  the  Principal  Libraries  of  Manchester  and  Salford.  Manchester  and  London, 
1909. 

Early  edition  of  the  Carceri  (with  title  in  first  state)  in  the  John  Rylands  Library, 
was  omitted  in  the  above  catalogue ;  it  was  a  separate  purchase  and  not  from  the 
Spencer  collection. 


AND   ABBREVIATIONS   USED 


XI 


Charrington.    Mr.  John  Charrington,  Shenley,  Herts. 

The  rare  volume  Le  Magnificenze  di  Roma,  175 1,  with  the  miscellaneous  collec- 
tion of  plates  and  Veduie  di  Roma.    From  the  collection  of  Mrs.  Gilbert  Drage. 

Davies.    Miss  Catherine  Davies,  28  Hans  Place,  London,  S.W. 

A  volume  of  fifty-nine  of  the  Veduie  di  Roma  (nos.  1-60  with  exception  of  no.  13). 
A  considerable  number  in  the  rare  state  with  address  of  Bouchard  or  Bouchard 
e  Gravier 

TUBBS.    Mr.  Percy  B.  Tubes,  F.R.I.B.A.,  10  Gray's  Inn  Square,  W.C. 

A  good  collection  of  the  Vedute  di  Roma  in  various  states.  A  considerable 
number  in  early  states,  before  Piranesi's  address  and  price,  and  in  an  intermediate 
state  before  the  heavy  rebiting  or  added  work  (see  references  in  catalogue).  Also 
most  of  the  other  published  works. 


LIST   OF   ILLUSTRATIONS 

Portrait  of  Giovanni  Battista  Piranesi,  engraved  by  Felice  Polanzani 
17.50;  originally  used  as  frontispiece  to  the  Opere  Varie,  1750,  and  the  Antichita 
Romatte,  1756.  Frontispiece. 

Plate  of  Watermarks.  PI.  I,  in  the  Text,  opposite  p.  34. 

Piranesi's  Engraved  Catalogue  of  his  own  Works,  from  an  impression  in 
the  Soane  Museum,  including  the  Vedute  di  Roma  up  to  no.  134  (the  edition 
described  as  no.  la  on  p.  6).  PI.  II,  in  the  Text,  between  pp.  34  and  35. 

The  Complete  series  of  the  Vedute  di  Roma  (except  the  last  two  plates, 
which  were  engraved  by  Francesco  Piranesi),  with  nos.  19,  27,  and  35  shown  in 
two  states.  From  impressions  in  the  possession  of  Mr.  Percy  B.  Tubbs,  F.R.I.B.A., 
and  the  Cotswold  Gallery,  one  only  (no.  58)  being  from  the  British  Museum 
(Print  Room).  PI.  III-LXXI. 

Plate  15  of  the  Carceri  shown  in  two  states.  From  impressions  in  the 
British  Museum  (Print  Room).  PI.  LXXII. 

The  Arch  of  Gallienus,  Rome,  from  the  Antichitd.  Romane  de'  Tempi  delta 
Repubblica,  1748.  Early  state  before  numbering.  From  an  impression  belonging 
to  the  author.  PI.  LXXIII. 

Gruppo  di  Scale,  pl.  11  from  the  Prima  Parte  di  Arckitetture,  1743,  as  re- 
issued in  the  Opere  Varie,  1750.  From  an  impression  in  the  King's  Library, 
British  Museum.  PI.  LXXIII. 

Internal  Elevation  of  an  Ancient  Reservoir,  in  the  vineyard  formerly 
belonging  to  the  Jesuits  below  Castel  Gandolfo,  pl.  22  from  the  Antichita 
d'Albano  e  di  Castel  Gandolfo,  1764.  From  an  impression  in  the  British  Museum 
(Print  Room).  Pl.  LXXIV. 

Interior  of  the  so-called  Temple  of  Neptune  at  Paestum.  Proof  of 
a  rejected  etching  for  plate  12  of  the  series  of  Views  at  Paestum,  1778.  From 
an  impression  in  the  British  Museum  (Print  Room).  Pl.  LXXIV. 


I.     BIOGRAPHICAL^ 

Giovanni  Battista  Piranesi  was  bom  in  Venice  on  the  4th  October  1720. 
The  son  of  a  stone-mason,  he  was  educated  as  an  architect  under  his  maternal 
uncle  Matteo  Lucchesi,  continuing  his  studies,  after  a  quarrel  with  Lucchesi, 
under  Carlo  Zucchi.  His  pride  in  his  profession  of  architect  and  in  his  native 
town  is  evidenced  in  his  constant  use  of  the  appendage  Architetto  Veneziano  to 
his  name  on  various  title-pages  of  his  works  ;  but  his  practical  work  cis  an 
architect  was  limited  to  a  few  restorations,  such  as  that  of  the  Church  of 
S.  Maria  Aventina,  and  the  Priory  of  the  Order  of  Malta,  which  he  was  com- 
missioned to  undertake  by  Cardinal  G.  B.  Rezzonico  about  1764-5. 

In  1740  Piranesi  left  Venice  for  Rome  in  the  suite  of  the  ambassador  to  the 
Papal  Court,  and  was  lodged  for  a  time  at  the  Venetian  Embassy.  He  studied 
etching  under  Giuseppe  Vasi,  the  engraver  of  one  of  the  largest  views  of  Rome  ; 
but  jealousy  of  supposed  secrets  of  the  craft  hidden  from  him  caused  a  breach, 
in  which  he  is  said  to  have  threatened  to  murder  his  master.  He  is  also  said  to 
have  worked  in  the  shops  of  the  scene-painters  Giuseppe  and  Domenico  Valeriani, 
and  to  have  studied  under  another  famous  scene-painter  Ferdinando  Bibiena,  who 
died  in  Bologna  in  1742.  Piranesi  may  have  come  in  touch  with  the  latter  in 
one  of  his  journeys  to  or  from  Rome. 

He  appears  to  have  had  little  success  in  these  early  years  at  Rome,  and  as 
his  father  was  unable  to  continue  his  allowance  returned  to  Venice  in  1744. 
Bianconi  states  that  he  studied  painting  about  this  time  in  Tiepolo's  studio.  But 
no  paintings  by  his  hand  are  identified.  Possibly  if  such  exist,  they  may  go 
under  the  names  of  Marco  Ricci  or  Pannini  who  were  the  chief  influences  in 
forming  his  style  of  architectural  composition. 

'  The  chief  authorities  for  Piranesi's  life  are  Bianconi,  Legrand  (MS.),  and  an  anonymous 
writer  in  the  Library  of  Fine  Arts  (1831).  See  Bibliography.  The  last  named  was  based  on  a 
manuscript  described  as  written  by  one  of  Piranesi's  sons,  and  then  in  possession  of  the  editor, 
who  was  probably  also  the  author  of  the  article.  The  writer  also  states  that  the  publishers, 
Priestley  and  Weale,  had  projected  its  publication.  The  editor  of  the  Library  of  the  Fine  Arts 
is  given  in  the  B.  M.  Catalogue  under  the  initials  J.  K.,  which  is  further  explained  by  a  note  by 
Dawson  Turner  in  the  Print  Room  as  '  Kennedy,  Esq.,  late  M.P.'  Taking  the  two  together,  the 
editor  must  have  been  the  James  Kennedy  (Barrister,  M.P.  for  Tiverton,  1832  and  1833-5)  who 
died  on  15th  May  1859,  at  Liddiard  House,  Grove  Terrace,  Notting  Hill.  See  Law  Lists  and 
F.  Boase,  Modem  English  Biography.  Perhaps  some  representative  of  the  family,  or  the 
publishers  mentioned,  may  be  still  in  possession  of  the  document.  Another  lost  source  is 
Piranesi's  own  manuscript  memoirs  referred  to  by  Bianconi  in  his  EUgio  Siorico. 

B 


a  GIOVANNI  BATTISTA  PIRANESI 

He  was  soon,  however,  encouraged  to  return  to  Rome  by  Giuseppe  Wagner, 
a  successful  engraver  and  publisher  of  Venice,  who  helped  Piranesi  from  his  own 
stock  to  found  a  similar  establishment  in  Rome. 

This  time  he  achieved  success,  and  a  constant  series  of  works,  illustrating 
architecture  and  antiquities,  issued  from  his  studio  until  his  death  in  1778.  His 
output  in  etched  plates  is  enormous  (it  is  about  loco  numbers  in  all,  and  the 
majority  detailed  plates  of  the  largest  dimensions),  and  he  must  have  left  besides 
a  great  deal  of  the  material  in  notes  and  drawings  used  in  the  publications  carried 
out  by  his  sons  Francesco  and  Pietro. 

It  is  uncertain  how  much  of  the  text  of  his  publications  is  actually  Piranesi's 
own  writing.  Bianconi  regards  him  in  this  respect  as  the  unlettered  publisher  of 
the  writings  of  others,  but  this  may  probably  be  regarded  as  an  exaggeration. 
He  certainly  had  the  flair  for  antiquities  and  no  doubt  inspired  his  press,  even  if 
he  lacked  the  scholarship  to  put  it  in  proper  form.  He  ran  to  death  the  theory  of 
the  Etruscan  (as  against  the  Greek)  origin  of  the  majority  of  Italian  architectural 
antiquities,  and  it  was  on  this  subject  of  indigenous  Italian  art  that  he  fell  foul  of 
the  famous  connoisseur  and  dealer  P.  J.  Mariette.^ 

With  his  remarkable  diligence  was  united  a  most  impetuous  and  quarrelsome 
nature,  of  which  we  have  already  given  two  examples.  Whether  apocryphal  or 
true  his  five  days'  courtship  of  a  girl  whose  face  had  taken  his  fancy  while 
sketching  in  the  Forum,  and  his  threats  to  kill  the  doctor  who  failed  to  save  the 
life  of  one  of  his  children,  are  further  incidents  related  that  illustrate  his  tempera- 
ment. He  had  two  sons  and  a  daughter,  all  of  whom  helped  him  in  his  work 
and  after  his  death  carried  on  his  publications  in  Rome  and  Paris.  They  were 
Francesco  (bom  1748  or  1756  ;  died  1810),  Pietro  (who  lived  till  after  1807)  and 
Laura  (born  1750). 

His  position  in  Rome  and  in  Europe  after  1760  was  a  prominent  one.  He 
must  have  been  a  well-known  figure  to  the  wealthy  English  visitors  in  Rome,  and 
was  elected  a  Fellow  of  the  Society  of  Antiquaries  in  1757,*  an  honour  which  he 
displays  on  several  title-pages  from  that  date  onward.  He  was  on  terms  of  friend- 
ship with  the  famous  architect  Robert  Adam  who  was  in  Rome  between  about 
'75c^5-  Other  relations  with  English  connoisseurs  are  seen  in  the  plate  of 
the  Arco  di  Aosta  after  a  drawing  by  Sir  Roger  Newdigate  (the  antiquary  and 
founder  of  the  Newdigate  Prize)  published  by  Piranesi  in  his  Archi  Trionfali, 
and  in  his  intended  dedication  of  the  Antichita  Rontane  to  James  Caulfeild,  Earl 
of  Charlemont,  which  ended  in  the  bitter  recriminations  of  the  Lettere  di  Giusti- 
ficazione oi i*] ^"j ,  while  the  names  of  many  English  patrons,  e.g.  Gavin  Hamilton, 

'  See  List  of  Piranesi's  Published  Works,  1765,  Osservazioni. 

'  Elected  Honorary  Fellow  7th  April  1757.  He  was  proposed  by  the  Bishop  of  Ossory, 
J.  Theobald,  P.  CoUinson,  A.  Cooper,  A.  Pond,  H.  Baker,  C.  Rogers,  and  W.  Norris 
(Secretary). 


BIOGRAPHICAL  3 

and  Thomas  Jenkins,  figure  in  the  dedications  on  a  large  number  of  the  plates 
in  his  Vast,  Candelabri,  &c.  of  1778.^ 

He  was  knighted  by  the  Pope  in  1765,  and  regularly  signed  his  plates 
Cavalier  Piranesi  sc.  from  this  date  onwards.  Sets  of  his  works  were  among  the 
regular  purchases  of  the  travelling  noblemen  and  connoisseurs,  and  the  frequent 
gift  of  the  Pope  to  distinguished  guests. 

Most  of  his  life  was  passed  in  Rome,  etching,  writing,  publishing,  and  direct- 
ing a  workshop  in  which  the  restoration  and  sale  of  antiques  played  a  con- 
siderable part.  In  1778  he  made  a  journey  with  his  son  Francesco  to  Naples  and 
Magna  Graecia,  collecting  the  material  for  his  Paestum  series,  and  for  other  works 
completed  after  his  death  by  his  sons.  Three  of  the  etchings  of  Paestum  were 
signed  by  Francesco,  who  may  also  be  partly  responsible  for  the  original  draw- 
ings preserved  in  the  Soane  Museum.^ 

G.  B.  Piranesi  died  two  months  after  the  papal  imprimatur  of  his  Paestum 
series,  and  was  buried  in  S.  Maria  Aventina,  in  November  1778. 

'  In  regard  to  English  connoisseurs  in  Piranesi's  circle  at  Rome  Mr.  Arthur  Samuel's  book 
contains  considerable  material. 

'  See  below,  pp.  19  and  20,  for  further  discussion  of  this  subject. 


B  a 


II.     NOTES   ON    PIRANESrS   WORK 

The  chief  basis  for  a  List  of  the  work  of  G.  B.  Piranesi  and  his  sons  is  the 
printed  Catalogue  with  the  title  (Eitvres  des  Cftevaliers  Jean  Baptiste  et  Francois 
Piranesi  qu'on  vend  siparement  dans  la  Cakographie  des  Auteurs.  Rue  Felice, 
pris  de  la  Triniti  des  Monts  vis-d-vis  le  corps  de  garde  des  Avigno7tais.  Rovte 
MDCCXCII.  Dans  timprimerie  Pihicchi  Cracas.  The  only  copy  known  to  me, 
in  the  British  Museum  Print  Room,  is  of  this  edition  of  179  a,  but  from  the  form 
of  the  title  one  would  expect  the  catalogue  to  have  been  first  printed  in  the  life- 
time of  Giovanni  Battista  Piranesi.  The  Papal  sanction  for  the  reprint  of  the 
catalogue  given  on  the  last  page  also  implies  the  existence  of  an  earlier  edition. 

This  catalogue  shows  thirty-two  sections  or  volumes  distinguished  by  Roman 
numerals,  but  a  considerable  number  of  the  sections  described  were  only  in  course 
of  preparation  in  1792.  It  is  seldom  that  one  finds  even  contemporary  editions 
bound  with  volume  numbers  corresponding  to  this  early  catalogue.  It  should 
be  noted  that  these  section  numbers  are  altered  in  the  catalogue  printed  by  the 
brothers  Piranesi  at  Paris  in  1800,  under  the  title  Cakographie  des  .  .  .  Piranesi 
frires.  CEuvres  de  Jean-Baptiste  et  de  Francois  qui  se  vendent  chez  les  auteurs, 
A  Paris  Rue  de  P  University,  Dipdt  des  Machines,  N°  2g6.  With  imprint  and 
date  on  last  page  de  timprimerie  de  Prault,  rue  Taranne,  N°  7^9,  a  r Immortality. 
Ann.  vnide  la  Ripublique.  This  is  also  an  extremely  rare  volume,  the  only  copy 
known  being  that  of  the  Soane  Museum  in  Lincoln's  Inn  Fields.  It  adds  little  to 
the  earlier  catalogue,  but  is  useful  as  a  guide  to  the  arrangement  of  the  first  Paris 
edition  of  1 800-7  ^  ii^  twenty-seven  folio  volumes,^  an  order  which  is  also  followed 
in  the  Paris  Edition  of  Firmin-Didot  of  1835-9. 

The  complete  sets  of  volumes  as  advertised  in  the  catalogues  of  1792  and 
1800  contain  plates  by  Giovanni  Battista  Piranesi's  sons  Francesco  and  Pietro, 
as  well  as  miscellaneous  plates  by  other  engravers  and  etchers  (e.g.  Barto- 
lozzi's  reproductions  of  Guercino  drawings). 

'  Magasin  Encyclopidique  (rddig^  par  A.  C.  Millin),  V«  Annde  (1799),  Tom.  5,  p.  1 10,  Tom.  6, 
p.  283,  and  IX»  Annde  (1803),  Tom.  II,  p.  238  ;  J.  Duchesne,  Quelques  Idhs  sur  ritablissetnent 
des  Frires  Piranesi,  Paris,  1802  (interesting  also  from  references  to  the  French  Government's 
project  of  an  Academy  with  Francesco  Piranesi  at  its  head) ;  and  J.  C.  Blanvillain,  Le  Parisium , 
publii par  Piranesi propriitaire,  Paris,  1807-8,  p.  208.  ^fablissement  des  frires  Piranesi  au 
collide  des  Grassins,  rue  des  Amandiers. 

•  There  is  a  complete  set  in  the  department  of  Engravings  at  the  Victoria  and  Albert 
Museum,  South  Kensington. 


NOTES  ON   PIRANESrS  WORK  5 

My  List  of  Piranesi's  Published  Works  includes  reference  to  such  plates 
in  addition  to  G.  B.  Piranesi's  original  work,  but  it  does  not  extend  to  the  series 
published  by  Francesco  and  Pietro  Piranesi  after  their  father's  death  in  1778. 
All  editions  of  Piranesi's  work  until  that  of  Firmin-Didot  (Paris,  1835-9) 
are  printed  on  thick  laid  paper  (i.e.  paper  showing  parallel  wire  lines).  The 
Firmin-Didot  editions,  and  most  modem  impressions  are  on  wove  paper.  The 
original  plates  taken  by  the  brothers  Francesco  and  Pietro  to  Paris  about  1800 
were  bought  from  Firmin-Didot  by  the  Camera  Apostolica  in  1839,  and  trans- 
ferred to  the  Calcografia  Camerale.  The  Calcografia  (since  1870  the  Regia 
Calcografia)  has  continued  to  issue  impressions  to  the  present  day.  For  more 
detailed  distinction  of  paper  and  watermark  I  would  refer  to  the  catalogue  of  the 
Vedute  diRoma  (see  pp.  31-4),  for  the  remarks  about  the  editions  of  this  series  would 
apply  with  qualification  to  other  sections  of  Piranesi's  work  of  corresponding  issues. 
In  general  the  fine  early  impressions  are  on  stout  and  fairly  white  laid  paper,  but 
apart  from  the  aid  given  by  watermarks  and  definite  indications  of  state,  it  is  the 
quality  of  the  etched  line  which  is  the  chief  criterion  of  value  of  impression.  It 
is  not  a  certain  indication  of  date  and  issue,  as  the  more  popular  plates,  printed 
in  large  numbers,  deteriorated  much  more  quickly  than  others.  Thus  modern 
impressions  of  the  Carceri,  which  in  spite  of  their  pre-eminence  in  Piranesi's  work 
for  imaginative  force  and  vigour  of  handling  (perhaps  I  should  say  on  account  of 
their  pre-eminent  qualities)  have  never  been  among  his  more  popular  prints,  still 
show  a  certain  strength,  while  the  '  Views  of  Rome ',  the  inevitable  purchase  of 
successive  tourists  in  Rome,  are  for  the  most  part  mere  wrecks  of  their  former 
selves. 

The  Catalogue  of  179a  gives  the  date  of  publication  or  production  of  a  large 
number  of  the  works.  Being  the  earliest  bibliographical  authority,  and  no  doubt 
repeating  the  material  of  its  earlier  editions,  one  is  naturally  inclined  to  confi- 
dence in  its  data.  But  some  dates  quoted  are  manifestly  erroneous,  e.g.  1758  for 
the  Trofei  di  Ottaviano  Augtisto  which  is  dated  1753  on  its  title-page,  and  the 
natural  inference  is  that  here  we  have  a  printer's  error,  3  and  8  being  easily  con- 
fused. In  other  cases  divergence  of  date  by  a  year  is  immediately  explained  by 
the  fact  that  the  catalogue  constantly  cites  the  exact  day  of  the  papal  approbatio, 
which  is  generally  in  the  year  before  publication. 

The  greatest  problem  is  the  dating  of  the  Vedute  di  Roma,  the  largest  and 
best  known  series  of  Piranesi's  views,  of  which  135  were  produced  by  Giovanni 
Battista,  and  two  by  Francesco.  The  Pianta  diRoma  of  1778  is  also  often  bound 
with  the  complete  series. 

The  list  of  the  137  views  in  the  1792  Catalogue  is  arranged  roughly  by  sub- 
ject, and  most  later  editions  of  the  series  are  bound  in  this  order.  Apart  from 
this  list  one  has  the  single  sheet  engraved  catalogues  which  are  found  inserted  at 
various  places  among  large  collections  of  the  master's  work.      One  plate  was 


6  NOTES  ON   PIRANESrS  WORK 

used  throughout  G.  B.  Piranesi's  life,  new  entries  being  engraved  on  the  plate  as 
the  works  were  published.  Of  this  Catalogo  delle  opere  date  finora  alle  luce  da  Gio. 
Battista  Piranesi  I  am  able  to  refer  to  the  following  impressions,  showing  thirteen 
different  states : 

(i)  Rome,  Accademia  di  S.  Luca.  Includes  Vedute  di  Roma  up  to  no.  59. 
About  1761.  (The  copy  of  the  Vedute  presented  to  the  Academy  of  St.  Luke 
on  Piranesi's  reception  in  1761  contained  only  fifty-four  plates.) 

(3)  British  Museum,  King's  Library  (147.  i.  9).  Cambridge  University 
Library  (with  manuscript  additions).  Vedute  up  to  no.  60.  Last  entry  of  other 
works  Delia  Magnificema  de'  Romaui.     About  1761. 

(3)  British  Museum  Library,  Tab.  488  d.  (a).  Vedute  up  to  no.  60  (with 
manuscript  additions).  Last  entry  of  other  works  Lapides  Capitolini  {Fasti 
Consulares).    About  1762. 

(4)  In  the  possession  of  Messrs.  B.  T.  Batsford,  Ltd.  (reproduced  on  pi.  Ill  of 
Arthur  Samuel,  Piranesi,  1910).  Same  engraved  entries  as  (3)  with  additions  of 
price  and  number  of  plates  of  Deir  Eviissario  del  Lago  Albano.    About  1763-4, 

(5)  John  Rylands  Library,  Manchester.  Vedute  up  to  no.  6^.  Other  last 
entry  Raccolta  di  Disegni  del  Guercino.     About  1 764. 

(6)  British  Museum,  Print  Room.  Vedute  up  to  no.  6$  (with  manuscript 
additions).    Other  last  entry  Descrizione  delle  Antichita  di  Cora.    About  1764-5. 

(7)  Berlin,  Print  Room.     Vedute  up  to  no.  72.    About  1764-5. 

(8)  Windsor,  Royal  Library  (at  end  of  volume  including  the  Delia  Magftifi- 
cenza  di  Roma  1761  and  Osservazioni  sopra  la  lettre  de  M.    Marie  tie,    1765). 

Vedute  up  to  no.  80.     Other  last  entry  Antichita  di  Cora.    About  1766. 

(9)  British  Museum  Library,  744.  f.  i  (5).  Charrington.  Vedute  up  to 
no.  83.     Other  last  entry  Diver  si  manieri  d'ornare  i  Camini.    About  1769. 

(10)  Dresden,  Kupferstich  Cabinet  (reproduced  by  Giesecke,  1911,  pi.  60). 
Vedute  up  to  no.  97.    Other  last  entry  Vasi  Candelabri.     About  1771. 

(11)  Oxford,  Bodleian,  Gough  Collection,  410.  f.  36.  Vedute  up  to  no.  107. 
(Del  Arco  di  Benevento.)    Otherwise  similar  to  (10).     About  1773, 

(12)  Sir  John  Soane's  Museum,  at  end  of  vol.  iv  of  the  Antichitct  Romane,  ed. 
1784  (reproduced  on  plate  II  in  the  present  volume).  Vedute  up  to  no.  134. 
The  title  of  no.  107  has  been  altered  to  Del  Palazzo  Farnese,  and  the  Arco  di 
Benevento  does  not  appear  at  all.*  Other  last  entry  Vedute  21  di  tre  Tempi ,  .  . 
a  Pesto.    About  1779. 

(13)  Collection  of  Dr.  Thomas  Ashby,  Rome.  Vedute  up  to  no.  135,  no.  135 
being  the  Arco  di  Benevento.  Includes  various  separate  plates  by  Francesco,  and 
also  his  Raccolta  di  Tempi  antichi  (1780).    About  1780. 

I  have  merely  given  in  the  above  list  enough  indication  of  the  contents  of  the 
different  states  to  show  that  the  respective  dates  are  for  the  most  part  fixed  by 
*  See  Catalogue  of  the  '  Views  of  Rome ',  No.  135,  for  suggested  reason. 


NOTES   ON   PIRANESrS  WORK  7 

other  entries  beside  the  Vedute,  on  reference  to  the  year  of  issue  as  given  in  the 
1792  catalogue. 

My  Catalogue  of  the  •  Views  of  Rome  '  follows  the  order  of  the  engraved  cata- 
logues. This  is  the  order  in  which  all  the  contemporary  editions  were  issued 
(e.g.  two  sets,  one  incomplete,  in  the  British  Museum),  before  Francesco  Piranesi 
classed  them  according  to  subject.  It  is  certainly  the  most  instructive  order  in 
which  to  keep  the  series,  as  it  shows  the  artist's  development.  The  order  may 
not  be  exactly  chronological,  but  it  is  roughly  so.  I  have  cited  the  date  of  pro- 
duction of  the  'Views  of  Rome'  as  given  in  the  catalogue  of  1792.  There  are 
only  eight  cases  where  one  is  naturally  driven  to  doubt  these  dates,  and  six  of 
these  may  be  mere  printer's  errors  (i.  e.  1742  for  1749,  1729  twice  for  1749,  1775 
three  times  for  1757).  But  the  chief  problem  of  date  arises  from  a  consideration 
of  the  early  issues  of  the  Vedute  which  were  published  by  Bouchard  under  the 
title  of  Le  Magnificenze  di  Roma,  1751. 

Of  this  rare  early  volume,  which  properly  includes  a  selection  of  the  other 
early  series  (see  List  of  Published  Works),  I  know  three  copies  corresponding  to  the 
contents  indicated  in  the  title-page,  one  belonging  to  Sir  Reginald  Blomfield, 
R.A.,  another  in  the  collection  of  Mr.  John  Charrington  (formerly  belonging  to 
Mrs.  Gilbert  Drage),  and  a  third  in  the  possession  of  the  Leicester  Galleries.^ 
A  fourth  copy,  in  the  Soane  Museum,  has  the  title-page  and  Vedute  di  Roma,  but 
lacks  the  miscellaneous  plates  referred  to  in  the  title.  Each  of  these  four 
volumes  contains  the  following  thirty-four  plates  of  the  Vedute  di  Roma,  nos. 
1-5.  7-9.  14-19.  28,  29,  33,  35,  37,  3«.  40,  41,  43.  45.  4^,  49-54,  5<5,  58.  59.  while 
the  Soane  copy  also  includes  nos.  32  and  34. 

Now,  according  to  the  Catalogue  of  1792,  the  fifty-ninth  view,  and  several 
which  precede  it  in  the  list,  were  produced  as  late  as  1760,  and  others  included 
cover  most  of  the  years  between  1748-60. 

How  is  this  compatible  with  the  date  1751  on  the  title-page  of  Le  Magnifi- 
cenze} Was  Bouchard  wrong,  or  Francesco  Piranesi  in  his  Catalc^ue  of  1792? 
As  to  the  possibilities  of  the  date  on  the  title-page  being  incorrect,  we  have  only 
to  refer  to  the  later  editions  of  the  Opere  Varie  shown  to  be  after  1757,  though 
the  date  1 750  is  still  unaltered  on  the  printed  title-page. 

It  should  also  be  noted  that  all  the  Vedute  in  Le  Magnificenze  are  in  an  early 
state  before  the  addition  of  the  price  and  later  address  of  Piranesi  [Strada  Felice 
nel  Palazzo  Tomati  vicinoalla  Trinita  de'  Monti).  From  view  no.  60  (dated  1751 
in  the  1792  catalogue)  onwards  even  the  first  states  known  often  bear  this  address, 
so  that  it  is  probable  that  he  moved  to  the  Palazzo  Tomati  about  1761.*    His 

'  From  the  signature  on  the  back  of  the  frontispiece  portrait  this  copy  originally  belonged  to 
H.  D.  Hamilton. 

'  Arguments  which  I  had  adduced  in  my  article  in  the  Burlington  Magazine  referring  to 
Piranesi's  Palazzo  Tomati  address  (i)  in  No.  34  of  the  'Views  of  Rome',  as  it  appeared  in  the 


8  NOTES  ON  PIRANESrS  WORK 

earlier  address  in  Rome  (about  1748,  and  probably  before  that  date)  was  in 
the  Corso  opposite  the  French  Academy,*  as  it  is  given  on  the  title  of  the  Anti- 
chitd  Rotnane  de'  Tempi  della  Repubblica  1748,  and  on  the  four  Grotesc/ii  o{  the 
Opere  Varie. 

I  do  not  feel  confidence  in  deciding  between  the  relative  authority  of  the 
title-page  of  Le  Magnificenze  and  the  Catalogue  of  179a.  But  one  strong  point 
in  favour  of  the  179a  catalogue  dates  being  correct  is  that  the  engraved  catalogue, 
which  includes  Della  Magnificenza  de'  Romani  of  1761,^  only  includes  sixty 
Vedute,  which  were  produced  in  1761  and  the  preceding  years  according  to  the 
catalogue  of  1 79a.  Moreover  at  a  particular  date  in  the  production  of  a  particular 
series  Piranesi,  or  his  publisher,  may  have  decided  that  enough  had  been  done  to 
justify  a  title-page,  and  this  title  with  its  original  date  continued  to  serve  in  later 
years  as  other  plates  were  added. 

There  is  one  other  catalogue  to  which  I  might  refer,  i.e.  the  short  printed  list 
of  the  opere  finora  date  in  luce  on  p.  4  of  the  preface  of  the  Antichitd  Romane, 
1756.  This,  besides,  is  in  favour  of  my  argument  as  giving  thirty-nine  Vedute 
engraved  up  to  that  date  (whether  this  includes  title-page  and  frontispiece  is  un- 
certain). Leaving  aside  the  evidently  erroneous  date  1775  fornos.  38,  39,  40  (for 
which  we  have  suggested  1757  as  the  easiest  interchange — for  they  might  have 
been  ready  in  1756  though  not  actually  published  till  1757),  then  nos.  1-41  of  the 
Vedute  reach  the  year  1 756.  If  the  earliest  engraved  catalogue  contained  fifty- 
nine  numbers  it  is  quite  probable  that  the  views  on  that  list  were  not  put  down  in 
absolute  chronological  order,  but  it  seems  in  the  highest  degree  unlikely  that  all 
of  those  after  nos.  39  or  41, which  were  included  in  Le  Magnificenze,  were  engraved 
by  1751. 

It  is  also  worthy  of  note  that  the  •  six  volumes  of  architecture  of  his  own  in- 
vention '  presented  by  Piranesi  to  the  Academy  of  St.  Luke  on  his  reception  on 
1st  March  1 761  contains  fifty-four  plates  of  the  Vedute  di  Roma.  Gavin  Hamil- 
ton was  admitted  as  a  member  of  the  Academy  on  the  same  day. 

Another  small  point  of  interest  to  be  gathered  from  a  comparison  of  the 
printed  catalogue  in  the  Antichitd  Romane  and  the  earliest  of  the  engraved 
catalogues  relates  to  the  Carceri.  In  1756  this  series  is  priced  at  14  paoli ;  by 
1 76 1  it  is  definitely  stated  to  contain  sixteen  plates,  and  priced  at  20  paoli. 
Trojei  di  Oitaviano  Augusta,  1753,  and  (a)  on  Plate  III  (the  Index  of  Plates)  of  vol.  ii  of  the 
Antichitd.  Romane,  1756,  seem  to  me  now  to  carry  little  weight,  because  (i)  in  King's  Library 
copy,  British  Museum,  might  be  in  an  issue  later  than  date  of  title-page  ;  (2)  Plate  III  is  before 
any  address  in  the  earlier  edition  of  the  Antichitd  Romane  in  the  British  Museum  (that  of  the 
King's  Library). 

The  uncertainty  as  to  date  of  Piranesi's  move  to  the  Palazzo  Tomati  is  reflected  by  Focillon, 
who  refers  to  it  on  p.  95  of  his  book  as  about  1750,  and  on  p.  123  as  about  1760. 

'  The  French  Academy  was  housed  in  the  Palazzo  Salviati,  1725- 1800. 

'  A  work  not  to  be  confused  with  Le  Magnificenze  di  Roma. 


NOTES  ON    PIRANESrS  WORK  9 

None  of  the  copies  of  Bouchard's  editions  of  the  Carceri  are  known  to  contain 
more  than  fourteen  plates,  and  this  price  of  14  paoli  certainly  supports  the 
assumption  that  they  never  contained  more,  the  two  extra  plates  being  added  in 
Piranesi's  own  edition. 

It  is  interesting  to  note  the  original  prices  of  the  plates  as  sold  by  Piranesi. 
The  Catalogue  of  1 79  a  explains  at  the  end  that  a  sctido  (iai)  corresponded  to 
•  5  Chelin '  (5  shillings)  in  English  money.  Without  going  into  the  purchasing 
value  of  English  money  at  the  time  this  makes  the  whole  series  of  sixteen  plates 
about  I  o  shillings,  as  there  were  10  Paoli  to  the  Scudo.  The  Paolo  is  thus  roughly 
si  xpence,  and  the  regular  price  of  the  separate  impressions  of  the  '  Views  of  Rome  ' 
was  •x\  Paoli,  i.  e.  about  half  a  crown.  English  mezzotints  of  the  period  were  also 
sold  at  similarly  low  prices,  and  it  is  not  till  the  nineteenth  century  that  limited 
editions,  which  are  chiefly  justified  in  the  case  of  dry-points  and  mezzotints  where 
the  plate  rapidly  deteriorates,  induced  high  prices.  Some  of  the  prices  in  the 
1792  Catalogue  are  given  in  baiocchi,  which  are  tenths  o^n^ paolo. 

The  Catalogue  of  1800  shows  similarly  low  prices  in  francs,  e.g.  the  16  plates 
of  '  Prisons  '  for  18  francs,  the  137  plates  of  *  Views  of  Rome  '  for  250  francs,  the 
franc  being  a  piece  of  slightly  higher  value  than  the  paolo.  The  prices  charged 
for  modern  impressions  by  the  Regia  Calcografia  at  Rome  still  correspond 
roughly  in  lire  to  the  francs  of  the  Catalogue  of  1800.^ 

In  the  rare  volume,  the  Lettere  di  Giustificazione  of  1757,  a  record  of  the  pro- 
posed and  cancelled  dedications  of  the  four  frontispieces  of  the  Antichitd  Romane 
to  Lord  Charlemont,  Piranesi  throws  some  interesting  light  on  the  commercial 
side  of  his  art.  In  justifying  his  estimate  of  300  scudi  (i.  e.  about  £75)  as  a  fair 
remuneration  for  each  dedication  plate,  he  states  that  he  would  naturally  expect 
to  receive  10,000  (i.  e.  1,000  scudi,  or  about  £%^o)  from  the  sale  of  4,000 
impressions  of  a  plate  published  (like  the  Views  of  Rome)  at  %\  paoli.  This 
would  of  course  have  to  cover  cost  of  paper,  4,000  sheets  at  4  baiocchi,  i.e.  160 
scudi,  or  about  ;^4o,  so  that  to  bring  profit  down  to  about  £i^  for  a  plate  he 
would  estimate  other  publishing  expenses  in  the  sale  of  separate  plates  as  540 
scudi,  i.e.  about  £135,  or  just  over  i|  paoli  for  each  plate.  He  said  that  the 
Pope  had  readily  given  him  a  subsidy  of  1,200  scudi  (£300)  towards  the  publica- 
tion of  the  Antichitd  Romane  without  any  expectation  of  return  in  the  form  of 
dedication,  so  that  he  was  naturally  sore  at  receiving  less  than  200  scudi  {£50) 
for  four  plates  of  dedication  to  Milord  Charlemont,  and  refused  the  honorarium 
with  scorn.  An  autograph  letter  of  G.  B.  Piranesi  of  nth  November  1760 
addressed  to  Robert  Mylne,  preserved  in  the  Library  of  the  Royal  Institute 
of  British  Architects,  also  refers  to  a  present  of  i,coo  scudi  from  the  Pope." 

'  This  statement  is  based  on  prices  charged  before  the  War. 

'  See  Rudolf  Dircks,  The  Library  and  Collection  of  the  R.J.B.A.,  Journal  of  the  R.I.BJV., 
4th  Dec,  1920. 


lo  NOTES   ON  PIRANESrS  WORK 

In  judging  the  quality  of  Piranesi's  etching  it  is  essential  to  see  the  fine  early 
impressions.  The  difference  is  particularly  noteworthy  between  the  architectural 
plates  in  the  Prima  Parte  di  Architetture  and  the  first  editions  of  the  Opere 
Varie,  and  the  reworked  states  of  the  same  plates  in  the  later  issues  of  the 
Opere  Varie.  The  early  states  are  lighter  and  clearer  in  etching.  In  the  later 
states  there  is  a  considerable  amount  of  rebiting,  and  darkening  of  shadows, 
which  certainly  adds  strength,  but  renders  the  general  effect  much  more  patchy 
and  restless.  The  same  differences  may  be  noted  in  the  four  small  architectural 
plates  of  the  Antichitd  Romane  with  their  original  dedications  in  that  rare 
volume,  Lettere  di  Giustificazione  scritte  a  Milord  Charlemont,  1757,  which 
appeared  rebitten  in  most  copies  of  the  later  edition  (B)  of  the  Opere  Varie. 

In  general,  Piranesi  used  etching  more  purely  in  his  earliest  work,  as  for 
example  in  the  earlier  edition  of  the  Carceri.  These  early  states  may  lack  the 
variety  given  by  the  added  work  and  rebiting  of  the  later  states,  but  they 
possess  a  most  satisfying  restfulness  of  tone.  The  series  of  smaller  views  in 
vol.  i  of  the  Antichitd  Romane,  1756,  have  a  considerable  portion  of  the  same 
pure  qualities  in  etching,  but  they  have  already  lost  something  of  the  freshness 
of  the  series  of  1748,  the  Antichitd  Romane  de'  Tempi  della  Repubblica  or  the 
'  Triumphal  Arches  '  as  they  are  usually  called  from  the  title  of  their  second 
edition.  The  latter  plates,  a  series  of  small  oblong  views,  are  among  his  purest 
etchings  in  their  early  states  before  rework.  One  of  them,  the  Arco  di  Galieno 
(see  pi.  LXXIII),  has  a  simplicity  of  tone  reminiscent  of  Tiepolo  or  Canaletto,  but 
in  most  of  the  others  Piranesi  is  already  using  double  biting  to  add  variety  and 
depth  to  his  light  and  shade.  From  the  purely  artistic  side  there  is  scarcely 
anything  more  attractive  in  Piranesi's  work  than  this  early  series,  and  they  are 
entirely  worthy  to  be  ranked  beside  Meryon's  best  architectural  etchings. 

We  have  alluded  above  to  the  states  of  the  Carceri.  The  pre-eminence  of 
this  series  in  its  imaginative  quality  amid  the  mass  of  Piranesi's  work  demands 
fuller  comment. 

All  readers  of  De  Quincey  know  the  description  of  the  series  of  the  '  Prisons ', 
there  called  '  Dreams ',  given  by  the  author  as  a  parallel  to  his  own  experiences 
whilst  under  the  influence  of  the  drug.  To  quote  from  the  Opium- E ater : — 
'  Many  years  ago,  when  I  was  looking  over  Piranesi's  "  Antiquities  of  Rome  ", 
Mr.  Coleridge,  who  was  standing  by,  described  to  me  a  set  of  plates  by  that 
artist,  called  his  "  Dreams  ",  and  which  record  the  scenery  of  his  visions  during 
the  delirium  of  a  fever.  Some  of  them  .  .  .  represented  vast  Gothic  halls,  on 
the  floor  of  which  stood  all  sorts  of  engines  and  machinery,  wheels,  cables, 
pulleys,  levers,  catapults,  &c.,  &c.,  expressive  of  enormous  power  put  forth,  and 
resistance  overcome.  Creeping  along  the  sides  of  the  walls,  you  perceived  a 
staircase ;  and  upon  it,  groping  his  way  upwards,  was  Piranesi  himself ;  follow 
the  stairs  a  little  further,  and   you  perceive  it  comes   to  a   sudden,  abrupt 


NOTES  ON   PIRANESrS  WORK  ii 

termination,  without  any  balustrade,  and  allowing  no  step  onwards  to  him  who 
had  reached  the  extremity,  except  into  the  depths  below.  Whatever  is  to 
become  of  poor  Piranesi  ? — you  suppose,  at  least,  that  his  labours  must  in  some 
way  terminate  here.  But  raise  your  eyes,  and  behold  a  second  flight  of  stairs 
still  higher,  on  which  again  Piranesi  is  perceived,  by  this  time  standing  on  the 
very  brink  of  the  abyss.  Again  elevate  your  eyes,  and  a  still  more  aerial  flight 
of  stairs  is  beheld  ;  and  again  is  poor  Piranesi  busy  on  his  aspiring  labours : 
and  so  on,  until  the  unfinished  stairs  and  Piranesi  both  are  lost  in  the  upper 
gloom  of  the  hall.  With  the  same  power  of  endless  growth  and  self-reproduction 
did  my  architecture  proceed  in  my  dreams.' 

Whether  these  wonderful  plates  of  architectural  fancy  originated  in  the 
delirium  of  a  fevered  brain  or  not,  they  at  least  proceed  from  a  genius  working 
at  the  fever  heat  of  imaginative  power.  Many  of  the  hundreds  of  Plranesi's 
architectural  designs  and  views  show  a  power  of  imagination  far  beyond  the 
immediate  demands  of  the  subjects  he  handled,  but  nowhere  except  in  the 
'  Prisons '  and  in  the  architectural  medleys  {Groteschi)  which  were  published 
in  1750  in  the  volume  entitled  Opere  Varie  di  Architettura,  did  he  give  his 
imagination  such  unbounded  play.  In  spite  of  the  intrinsic  horror  of  these 
dreams  of  prisons  and  torture  chambers,  there  is  a  grandeur  in  the  architectural 
setting  which  outweighs  the  mere  gruesome  details  and  enables  one  to  contem- 
plate without  distraction  the  whole  ideal  construction  of  Piranesi's  designs. 
Thanks  to  their  true  balance  of  interest,  they  will  bear  hanging  on  one's  walls 
(and  it  is  only  thus  that  prints  of  this  size  ^  can  convey  the  proper  impression) 
without  inducing  the  obsession  of  a  nightmare.  The  impetuosity  and  exube- 
rance of  his  nature  were  probably  somewhat  tamed  in  the  course  of  his  life 
by  the  drudgery  of  his  labour,  and  his  purely  artistic  aims  were  constantly 
subjected  to  topographical  and  archaeological  considerations.  In  spite  of  all, 
it  is  remarkable  how  large  a  proportion  of  his  whole  work  (even  plates 
illustrating  pure  technical  details  of  construction)  betrays  the  inherent  imagina- 
tion of  the  artist.  But  the  series  of  the  '  Prisons  ',  produced  as  it  was  without 
ulterior  considerations  and  with  all  the  glow  of  his  youthful  fire,  remains  in  my 
opinion  his  most  wonderful  artistic  legacy. 

The  series  is  known  in  two  principal  editions,  that  of  Bouchard  (who  pub- 
lished other  early  works  by  Piranesi)  in  fourteen  plates,  including  title,  and  the 
later  one  of  sixteen  plates,  including  title,  issued  by  Piranesi  himself  Bouchard's 
edition  occurs  in  two  issues  (i)  with  his  name  spelt  Btizard  on  the  title-page, 
(a)  with  name  altered  to  Bouchard.  This  edition  is  rare,  and  as  the  plates  are  in 
the  same  state  except  for  title-page  in  both  issues,  I  prefer  to  treat  it  as  one 
edition  of  two  issues  rather  than  as  two  editions.  It  would  be  impossible  to  fix 
the  issue  to  which  separate  plates  belonged  unless  they  were  found  with  the 

'  They  measure  about  21  x  16  in. 


la  NOTES  ON  PIRANESI'S  WORK 

title-page.     The  rarity  of  Bouchard's  edition  in  both  issues  seems  to  show  that 
the  Carceri  could  not  have  had  a  large  initial  success. 

In  the  Opere  Varie  di  Architetttira  there  are  similar  editions  published 
respectively  by  Bouchard  and  Piranesi  himself.  They  are  both  dated  1750  on 
the  title-page,  though  there  seems  internal  evidence  that  the  sets  with  Piranesi's 
name  on  the  title-page  are  not  earlier  than  1757,  containing,  as  they  usually  do, 
later  states  of  plates  published  in  the  rare  volume  Lettere  di  Giustificazione 
scritte  a  Milord  Charleniont,  1757.  It  is  of  course  always  possible  in  his  early 
years  at  Rome,  before  his  own  business  was  firmly  established,  that  he  had 
arrangements  with  other  publishers  at  the  same  time  as  he  was  issuing  a  certain 
number  of  copies  from  his  own  press.  Other  dates  on  works  of  Piranesi, 
published  by  Bouchard,  were  1751,  1753,  ^n^  ^75<5  (i.e.  Le  Magnificenze  di 
Roma,  Trofei  di  Ottaviano  Augtisto,  and  Le  Antichitd  Romane),  while  his  earliest 
work,  the  Prima  Parte  di  Architetture  of  1743,  was  published  by  the  brothers 
Pagliarini,  and  the  Varie  Vedute  di  Roma  was  first  published  in  1748  by 
Fausto  Amideo,  and  in  1752  by  Bouchard. 

The  earliest  dated  work  in  which  Piranesi  is  shown  as  publisher  is  the 
Antichitd  Romane  de'  Tempi  della  Repuhblica  di  1748,  when  his  address  is  given 
as  '  opposite  the  French  Academy '. 

In  Bouchard's  edition  of  the  '  Prisons '  the  fourteen  plates  are  unnumbered  ; 
the  plates  in  Piranesi's  edition  are  numbered  I-XVI,  plates  II  and  V  being 
additions.  In  the  former  the  title  reads  Invenzioni  capric  di  Carceri  all'  acqua 
forte  datte  in  luce  da  Giovani  Biizard  [Bouchard  in  second  issue]  in  Roma 
Mercante  al  Corso ;  in  the  latter  Carceri  d'  Invenziotie  di  G.  Battista  Piranesi 
Archit.  Vene,  while  Piranesi's  imprint  is  given  at  foot  of  the  added  pi.  II, 
Presso  t  autore  a  strada  Felice  vicino  alia  Trinitd  de'  Monti .  Fogli  sedici,  alprezzo 
di  paoli  venti. 

In  Bouchard's  edition  the  plates  are  more  lightly  etched  throughout  with 
none  of  the  strong  contrasts  of  light  and  shade  seen  in  the  later  edition. 
There  is  a  wonderful  simplicity  in  the  design  in  the  early  states,  and  none 
shows  this  quality  in  greater  beauty  than  pi.  4  of  the  series.  Nevertheless, 
the  later  states,  with  added  strength  and  emphasis  achieved  largely  by  deepened 
shadows,  have  gained  in  variety  and  effect,  at  least  as  seen  from  a  distance. 

It  is  in  this  emphatic  style  in  which  his  aims  are  carried  on  at  the  present  day, 
without  in  any  sense  being  imitated,  by  Brangwyn.  In  the  simpler  and  less 
varied  tonality  of  the  early  states,  Piranesi  has  still  not  entirely  broken  with  the 
style  of  the  Venetian  etchers,  Canaletto  and  Tiepolo.  The  influence  of  the  latter 
is  most  clearly  seen  in  the  ninth  plate  of  the  series,  an  upright  subject  where 
a  massive  gateway  is  surmounted  by  a  colossal  double  wheel  of  mysterious 
construction.  With  regard  to  the  influence  of  Canaletto,  one  might  also 
compare  another  Prison  subject  by  Piranesi,  the  Carcere  Oscura,  pi.  2  in  the 


NOTES   ON  PIRANESrS  WORK  13 

Prima  Parte  di  Architetture  of  1743 — certainly  the  most  beautiful  etching  of 
that  early  series.  It  is  also  interesting  to  note  among  the  drawings  attributed 
to  Canaletto  in  the  British  Museum  an  Interior  of  a  massive  building  of  Roman 
architecture  *  which  is  so  extraordinarily  close  to  Piranesi  in  the  general  treat- 
ment of  the  subject  that  one  is  sometimes  tempted  to  regard  it  as  Piranesi's 
work.  But  it  is  without  his  rapid  touch,  and  the  somewhat  tighter  penmanship 
is  quite  in  Canaletto's  manner. 

Mr.  Samuel  referred  to  the  influence  of  Daniel  Marot  in  Piranesi's  Carceri. 
It  may  be  no  more  than  a  coincidence,  but  the  style  of  the  Prison  d'Amadis, 
pi.  3  in  Livre  d'  architecture  diferante  inventde  par  D.  Marot  architecte  de  sa 
Majesti  Britanniqtte  d,  la  Haye,  170a,  is  certainly  reflected  in  the  Carcere  oscura, 
though  less  in  the  series  of  the  '  Prisons '. 

Apart  from  pi.  4,  the  eleventh  and  sixteenth  plates  are  perhaps  the  simplest 
in  design  in  the  early  states  of  the  '  Prisons '.  PI.  15  with  its  magnificently 
balanced  arches  is  altered  comparatively  little  in  its  general  scheme  in  the  later  state, 
and  remains  one  of  the  most  impressive  of  the  whole  series  (see  my  pi.  LXXII). 
The  changes  introduced,  besides  the  darkening  of  the  principal  lines,  include  a  vista 
of  gradually  disappearing  flights  of  steps  seen  through  the  archway  on  the  left. 
The  very  flatness  of  the  unelaborated  early  states  gives  them  a  peculiarly 
decorative  character,  and  the  later  additions  are  no  doubt  to  some  extent  due 
to  the  attempt  to  give  more  realistic  expression  to  the  solidarity  and  perspective 
of  things.  But  if  we  sometimes  regret  the  blackness  of  the  foreground  in  the 
later  states,  we  are  recompensed  by  the  introduction  of  fascinating  architectural 
vistas  retreating  far  into  the  background,  more  particularly  in  the  fifth,  thirteenth, 
fourteenth,  and  sixteenth  plates. 

Another  sign  of  the  more  purely  decorative  aim  of  the  early  states  is  the 
lesser  prominence  of  the  instruments  of  torture  that  abound  in  the  elaborated 
designs.  This  greater  singleness  of  aim  is  perfectly  exemplified  in  pi.  4,  where 
there  is  no  suggestion  of  the  horrors  of  the  '  Prisons '  as  they  appeared  in  their 
final  form,  with  chains,  wheels,  spiked  beams,  and  other  indescribable  terrors. 
In  certain  cases  I  think  the  plates  have  lost  more  in  general  balance  than  they  have 
gained  in  the  impression  of  strength.  This  is  particularly  so  in  the  last  plate  of 
the  series,  where  the  detail  of  the  second  state  is  rather  disconcerting  in  its  effect. 
The  same  criticism  applies  in  some  degree  to  the  eleventh  plate,  but  here  the 
new  features  are  of  greater  architectural  interest.  It  is  noteworthy  that  the  two 
new  plates  of  the  later  set  (nos.  2  and  5)  are  quite  the  most  confused  in  detail  of 
the  whole  series,  as  if  Piranesi  suffered  from  the  lack  of  an  earlier  simple  sketch 
to  give  him  the  beautiful  features  that  he  needed  to  emphasize  in  his  elaboration. 

In  spite  of  the  preponderance  of  the  imaginative  features  in  the  later  states, 
it  still  seems  to  me  on  the  whole  a  just  criticism  to  regard  these  elaborated  states 
*  Reproduced  by  the  Vasari  Society,  X,  plate  9. 


14  NOTES  ON   PIRANESrS  WORK 

as  the  work  of  the  architect  Piranesi,  and  the  earlier  sketches  as  that  of  the  artist 
who  in  spite  of  his  themes  does  not  betray  his  profession.  There  is  often 
a  vagueness  of  design  in  the  early  states  which  perhaps  only  needed  some 
striking  architectural  feature  to  dissipate.  This  is  especially  remarkable  in  the 
seventh  plate,  where  the  additions  of  a  large  wooden  gallery  or  bridge  imme- 
diately lends  cohesion  to  the  whole  structure.  The  cross  bridge  and  beams  in 
the  thirteenth  plate  work  similar  wonders  with  another  design  which  lacked 
solidarity  in  the  early  state. 

In  his  more  purely  architectural  designs  of  the  early  period,  contained  in  the 
Prima  Parte  di  Architetture,  1743,  and  the  Opere  Varie  1750,  Piranesi  was  less 
original  both  in  theme  and  treatment  than  in  the  '  Prisons '.  Here  he  shows  very 
clearly  the  influence  of  the  architect  and  scene-painter  Ferdinando  Bibiena  (Galli),* 
of  whom  there  are  a  few  drawings  in  the  Victoria  and  Albert  and  Soane  Museums. 
Piranesi  must  have  known  the  series  of  large  plates  of  stage  scenery  engraved  by 
Pfeflfel  after  Ferdinando's  son,  Giuseppe  Bibiena,  Architetture  e  Prospettive,  Augs- 
burg, 1740,  but  he  happily  kept  clear  of  the  overloaded  and  fantastic  ornament 
that  mars  Giuseppe  Bibiena's  work.  There  is  a  series  of  Giuseppe's  drawings 
for  stage  decoration,  full  of  his  exaggerated  mannerisms,  in  the  British  Museum. 
Andrea  Pozzo,  the  author  of  a  book  on  perspective,  printed  at  Rome  in  1693 
(Perspectiva  Pic  tor  urn  et  Arckitectorum)  must  also  have  exercised  a  considerable 
influence  on  this  side  of  Piransi's  work. 

Another  set  of  original  designs  which  appeared  in  the  Opere  Varie,  the  four  large 
oblong  plates,  architectural  medleys,  called  Groteschi  on  the  title-page,  are  more 
influenced  by  Tiepolo  than  anything  else  in  Piranesi's  work.  Their  technical 
inspirer  is  Tiepolo,  and  in  their  romantic  flavour  there  is  much  of  the  spirit  of 
Salvator  Rosa.  Throughout  his  architectural  and  topographical  work  Piranesi 
never  loses  sight  of  humanity,  and  it  is  a  humanity  that  moves  with  a  fantastic 
energy,  showing  him  as  the  natural  successor  of  Callot  and  Salvator  Rosa,  and  the 
forerunner  of  Meryon  and  his  haunted  Paris.  Probably  Piranesi's  own  restless 
spirit  is  reflected  in  many  of  the  flamboyant  figures  so  artistically  placed  in  most 
of  his  plates.  Francesco  inherited  some  of  his  father's  genius  for  architecture, 
but  practically  none  of  this  more  human  side  of  his  art,  which  is  always  suggest- 
ing elements  of  life  beyond  the  mere  stone  he  depicts,  and  places  him,  even  when 
dealing  with  archaeology  and  topography,  among  the  greater  imaginative  artists. 

Piranesi's  development  as  an  etcher  may  be  studied  most  comprehensively  in 
the  '  Views  of  Rome ',  extending  as  they  do  throughout  his  whole  life.  Here,  as 
in  the  early  states  of  the  '  Prisons  ',  the  architectural  designs  of  the  Opere  Varie, 
as  they  occurred  in  the  Prima  Parte  di  Architetture,  1743,  and  in  the  early 
impressions  of  the  Antichith  Romane  de'  Tempi  delta  Repubblica ',  one   may 

'  See  D.  Donghi,  /  Piranesi  e  i  Bibiena.  Atti  della  Society  degli  Ingenieri  e  degli  Archi- 
tetti.    Turin,  1890. 


NOTES  ON   PIRANESrS  WORK  15 

remark  in  general  a  purer  use  of  etching  and  a  lighter  and  less  varied  tonal 
scheme  in  the  earlier  plates  of  the  series.  There  is  an  increasing  tendency  in  the 
later  views  to  stronger  contrasts  of  light  and  shade,  obtained  either  by  second 
biting  or  by  the  use  of  the  graver  in  broadening  and  deepening  the  etched  lines. 

This  general  tendency  may  also  be  noted  in  Piranesi's  rework  of  the  earlier 
plates  of  the  series.  A  large  proportion  of  the  plates  up  to  about  no.  59  (i.  e.  up  to 
about  1760)  exist  in  early  states,  more  lightly  etched,  which  were  later  rebitten  or 
otherwise  reworked  by  Piranesi  not  long  after  the  original  issue.  The  lightly 
etched  states  are  for  the  most  part  before  any  address  in  the  inscription.  The 
changes  were  generally  made  by  the  time  Piranesi  added  his  address  at  the  Palazzo 
Tomati  (where  he  seems  to  have  moved  about  1760)  and  the  price,  i.e.  the  most 
usual  state,  and  sometimes  already  in  the  intermediate  state  with  the  address  of  the 
publisher  Bouchard  (or  the  publishers  Bouchard  e  Gravier),  which  must  have 
been  before  1 760.  For  the  most  part  the  changes  made  are  limited  to  a  general 
darkening  of  the  shadows  either  by  rebiting  or  occasionally  perhaps  by  the  use  of 
the  graver.  Piranesi  may  have  had  the  right  instinct  in  emphasizing  the  design  in 
this  way,  for  it  immediately  strengthens  the  power  of  the  design  if  the  print  is 
hung  on  the  wall.  But  it  by  no  means  always  enhances  the  beauty  of  the  print, 
as  seen  in  the  hand,  and  the  more  delicate  and  regular  surfaces  of  tone  of  the 
earlier  states  show  a  great  beauty  of  decorative  design.  The  rebitten  states 
are  naturally  more  architectural  and  sculpturesque  ;  they  have  more  of  the  third 
dimension  against  the  flatter  design  of  the  lightly  etched  impressions. 

Apart  from  these  general  differences,  one  can  cite  many  plates  in  which  the 
additional  detail  definitely  mars  the  composition.  This  is  constantly  so  in  the 
addition  of  dark  patches  of  cloud  in  the  sky,  which  may  give  variety,  but 
certainly  distracts  the  interest  from  the  larger  masses,  which  form  the  real  beauty 
of  Piranesi's  compositions.  Good  instances  of  this  are  the  .S.  Giovanni  in 
Laterano  (8),  5.  Maria  Maggiore  (9),  and  the  Hadrianeum  (3a),  all  of  which  are 
spoilt  by  the  dark  patches  of  cloud  in  the  later  state,  though  the  6".  Giovanni  in 
Laterano  has  no  doubt  gained  in  perspective  and  depth  by  the  darkening  of  the 
balustrade  in  the  foreground.  On  the  other  hand  the  Capitol  seen  from  the  side 
(39)  is  an  isolated  instance  in  which  the  early  state  showed  irregular  patches 
of  cloud,  which  were  cleared  away  in  the  later ;  and  the  concentration  of  effect 
is  also  enhanced  in  the  later  state  by  the  removal  of  a  cornice  of  building 
along  the  right  margin. 

It  is  interesting  to  note  two  or  three  of  the  more  drastic  changes  on  the  plate 
in  the  development  of  states.  In  no.  27,  the  Ripa  Grande,  a  barge  in  the  centre 
of  the  canal,  loaded  high  with  timber,  is  cleared  away  in  the  second  state,  leaving 
a  large  space  of  open  water  in  the  centre.  This  undoubtedly  helps  the  composi* 
tion,  which  was  confused  with  too  much  detail  in  the  early  state.  Then  in  the 
Pyramid  of  Caius  Cestius  (35),  the  pyramid  itself  is  entirely  re-etched  on  a  larger 


i6  NOTES  ON  PIRANESrS  WORK 

scale,  and  inscriptions  added  on  its  side.  In  the  first  state  it  had  the  appearance 
of  leaning  to  one  side  and  the  interest  is  not  sufficiently  concentrated,  in  the 
second  the  masonry  is  etched  with  more  local  colour,  and  the  pyramid,  larger  in 
proportion  and  more  stable  in  its  perspective,  now  dominates  the  composition. 

The  changes  made  in  the  earlier  view  of  the  Fontana  di  Trevi  (19),  i.e.  the 
alterations  in  the  statues  in  the  niches,  are  curiously  interesting.  The  plate  is 
dated  1751  in  the  catalogue  of  179a,  and  as  Nicolo  Salvi  was  engaged  on  the 
erection  of  the  fountain  between  1735  and  1762,  it  seems  probable  that  the 
earlier  state  is  a  record  of  earlier  state  of  the  statues,  which  may  have  been 
altered  by  the  sculptor  Pietro  Bracci  in  the  course  of  the  work.  Piranesi's  small 
plate  of  the  Fountain  in  the  Varie  Vedtite  di  Roma  (published  1 748)  shows  a  still 
earlier  state  before  there  were  any  statues  in  the  side  niches. 

Hitherto  the  collector  has  sought  the  darker  impressions,  without  considering, 
or  even  recognizing  that  the  lighter  impressions  were  in  many  cases  earlier 
states.  There  is  little  question  that  a  more  careful  comparison  of  Piranesi's 
work,  or  even  the  knowledge  of  the  different  states,  will  induce  a  greater  dis- 
crimination in  the  amateur — and  then  I  feel  sure  that  many  will  prefer  the 
subtler  quality  of  the  early  states  to  the  stronger  tones  of  the  rebitten  plates,  even 
though  the  latter  when  in  fresh  and  rich  impressions  may  be  the  most  effective 
pictures  for  wall  decoration. 

I  would  mention  some  of  the  finest  of  the  plates  for  beauty  of  etching  and 
composition.  The  Forum  of  Augustus  (4a)  is  one  of  his  most  powerful  renderings 
of  a  foreground  mass  of  masonry,  dark  even  in  its  earliest  impressions  and 
almost  exaggerated  in  its  blackness  in  the  rebitten  state.  The  Interior  of  the 
Portico  of  Octavia  (59)  is  another  plate  where  the  main  architectural  features 
take  up  almost  the  entire  foreground ;  with  an  equal  strength  it  is  much  lighter 
in  tone,  and  one  of  the  most  dignified  of  his  '  Roman  Views  '. 

The  Substructure  of  the  Temple  of  Claudius  (43)  is  also  generally  lighter  in 
etching  than  the  Forum  of  Augustus,  z.x\A  of  very  great  beauty  in  composition. 
The  upright  plate  of  the  Temple  of  the  Sibyl  at  Tivoli  {6^),  the  Ponte  Lucano 
(68),  the  Baths  of  Diocletian  (116),  and  the  Bel  Lido  (125)  are  other  examples 
of  his  most  successful  plates — but  there  are  so  many  of  almost  equal  merit  that 
it  is  almost  invidious  to  select  one's  favourite  subjects.  Perhaps  of  all  the  series 
none  shows  a  more  complete  mastery  of  the  subtle  play  of  light  and  shade  in 
a  large  interior  than  the  so-called  Tempio  della  Tosse  (70). 

Apart  from  his  master  Giuseppe  Vasi,  the  nearest  forerunners  of  Piranesi's 
style  in  his  larger  Views  were  Giovanni  Battista  Falda  and  Allesandro  Specchi. 
I  do  not  refer  to  Falda's  Nuovo  Teatro  delle  Fabbriche  di  Roma,  1665,  &c.,  nor 
to  his  continuation  of  Pietro  Ferrerio's  Palazzi  di  Roma,  1655  (the  size  of 
whose  plates  averaged  respectively  7x11  in.  and  lox  15  in.)  ;  but  to  a  series  of 
larger  plates  about  18  x  37  in.  (i.  e.  nearly  the  size  of  Piranesi's  'Views  of  Rome') 


NOTES   ON   PIRANESrS  WORK  17 

published  by  Gian  Giacomo  de'  Rossi  and  his  successor  Doir.enico  de'  Rossi 
between  1687  and  1694.^  Falda  did  a  Bird's-eye  of  St.  Peler's  vilxh  forecourt 
and  colonnades,  which  is  near  enough  to  have  suggested  Piranesi's  similar  plate 
{Vediite,  no.  lao).  Gomar  Wouters,  a  Flemish  engraver  who  lived  in  Rome,  also 
did  a  few  plates  in  the  same  series.  Altogether  I  know  rather  less  than  a  dozen, 
and  find  no  record  that  they  were  ever  published  as  a  set  with  a  title-page. 

In  spite  of  Piranesi's  extraordinary  faculty  of  invention,  he  never  allowed  his 
topographical  and  archaeological  plates  to  fall  into  the  false  picturesque. 
Scholars  and  students  of  Roman  archaeology,  such  as  Jordan,**  Lanciani,  and 
Dr.  Thomas  Ashby,  all  recognize  the  value  of  his  plates  as  topographical 
documents.  And  he  seldom  failed  to  combine  this  documentary  truth  with 
a  noble  dignity  of  composition. 

Of  the  '  picturesque '  school  of  architectural  painting,  Giovanni  Paolo  Pannini 
(about  1695-1768)  was  the  central  figure.'  He  taught  perspective  at  the  French 
Academy  in  Rome,  and  from  him  C.  L.  Clerisseau  (1722-1820)  learnt  the 
particular  bias  of  his  style  and  an  inclination  towards  a  somewhat  weakly 
romanticism  in  the  treatment  of  architectural  antiquities,  thrown  together  with 
little  relation  to  their  actual  juxtaposition  in  reality,  much  as  an  artist  would 
pose  a  still  life  in  a  studio.  Hubert  Robert  (i  733-1 808)  also  carried  on 
Piranesi's  principles,  but  he  was  a  truer  artist  than  either  Clerisseau  or  Pannini, 
and  in  him  the  romanticism  is  more  than  justified  by  the  poetical  atmosphere 
with  which  he  endows  his  compositions.  His  is  a  far  gentler  pencil  than 
Piranesi's,  but  it  has  more  of  the  latter's  essential  dignity  of  design  than  either 
Clerisseau  or  Pannini. 

The  wealth  of  beauty  throughout  Piranesi's  topographical  and  archaeological 
work  is  amazing.  A  technical  illustration  such  as  the  large  folding  plate 
showing  the  Foundations  of  the  Mausoleitin  of  Hadrian  (pi.  VI  of  vol.  iv  of 
the  Antichitd  Romane)  is  full  of  beauty  in  the  mere  drawing  of  the  regular 
masonry  as  well  as  in  the  charming  vista  of  Tiber  through  the  arches  of  the  bridge. 
Another  of  the  same  Foundations  of  the  Mausoleum  of  Hadrian,  a  large  upright, 
pi.  IX  in  the  same  volume,  is  one  of  his  most  impressive  plates,  comparable 
in  its  gigantic  strength  with  pi.  I  of  the  Antichitd  di  Cora.  These  are  plates 
on  a  large  scale,  but  Piranesi  never  seeks  for  spurious  effect  by  the  mere 
dimensions  of  his  work.  He  achieves  an  almost  equal  magnificence  in  small 
plates  such  as  the  Idea  d  un  atrio  reale,  one  of  the  smaller  plates  added  to  the 
later  edition  of  the  Opere   Varie.     Two  small  views  of  the  Pantheon,  in  the 

*  Some  of  the  plates  are  no  doubt  earlier  than  date  of  publication  on  impressions  I  have 
noted.    G.  B.  Falda  died  in  1678. 

'  Heinrich  Jordan,  Topographie  der  Stadt  Rom,  Berlin,  1878,  &c.  (i.  94). 

'  Dr.  Ashby  reminds  me  that  even  Pannini  did  on  occasion  paint  topography,  fairly  unadorned 
(e.g.  the  thirty-seven  views  of  Roman  buildings  preserved  in  a  series  of  engravings  by  G. 
Volpato,  F.  Polanzani,  G.  Vasi,  F.  Barbazza  and  others.  No.  1223  in  the  Regia  Calcografia). 

C 


i8  NOTES  ON   PIRANESrS   WORK 

Antickiid  Romane  have  an  impressiveness  at  least  equal  to  the  larger  renderings 
of  the  same  subject  in  the  Vedttte  di  Roma.  Many  more  of  the  smaller  views 
in  vol.  i  of  the  Antichith  Romane  have  a  charm  similar  to  that  of  the  oblong 
views  of  the  series  of  'Triumphal  Arches'  {Antichita  Romane  de'  Tempi  della 
Repubblicd)  of  1748,  e.g.  the  Janus  Quadrifrons  (pi.  XXI,  fig.  a),  the  Interior 
of  S.  Stefano  Rotondo  (pi.  XXV,  fig.  2),  the  Arco  di  Galieno  (pi.  XXVI,  fig.  2), 
the  Baths  of  Diocletian  (pi.  XXVIII,  fig.  2),  the  Forum  of  Augustus  (erroneously 
called  Foro  di  Nerva)  (pi.  XXX,  fig.  1),  the  Temple  of  Antoninus  and  Faustina 
(pi.  XXXI,  fig.  i),  and  the  Temple  of  Saturn  (erroneously  called  Temple  of 
Concord)  (pi.  XXXII,  fig.  i).  The  second  volume  contains  many  fine  plates 
of  Tombs,  e.g.  the  double  page  of  the  Sepolcro  d^  Scipioni  (pi.  XXVIII). 
In  the  third  volume,  besides  numerous  plates  of  inscriptions  and  other  archaeo- 
logical details,  a  considerable  number  of  which  were  engraved  by  Barbault  and 
Rossi  after  Piranesi,  are  fine  views,  such  as  the  Pyramid  of  Cains  Cestius 
(pi.  XL),  giving  another  aspect  of  the  subject  illustrated  in  two  plates  in  the 
'  Views  of  Rome '.  The  fourth  volume  would  be  remarkable  were  it  only  for  the 
series  illustrating  the  Mausoleum  of  Hadrian,  but  it  contains  in  addition 
some  fine  plates  of  bridges,  the  Ponte  Fabrizio  (pi.  XVI),  and  the  Ponte  Ferrato 
(pi.  XXI)  being  as  good  as  any  of  the  bridge  subjects  in  the  '  Views  of  Rome '. 
Splendid  views  of  bridges  also  appeared  in  the  'Campus  Martius'  of  1762, 
e.  g.  the  Pons  Mollis  (pi.  XXXIX),  and  the  Pons  Aelius  {Ponte  S.  Angela) 
(pi.  XLIV),  while  the  same  work  contains  several  other  attractive  views,  e.  g.  the 
Island  in  the  Tiber  (pL  XI),  the  Arch  of  Marcus  Aurelius  (pi.  XXXVI),  and 
the  Rudera  Viae  Flaminiae  (pi.  XXXVIII),  and  one  of  the  most  successful  of 
his  exteriors  of  the  Pantheon  (pi.  XXIII).  Plate  VI  of  the  series  Descrizione 
e  Disegtw  delP  Emissario  del  Lago  Albano,  1764,  is  remarkable  for  the 
splendour  and  depth  of  its  massing  of  light  and  shade,  and  plate  XXII  of  the 
Antichita  d'  Albano  of  the  same  date,  the  Internal  Elevation  of  an  Ancient 
Reservoir  at  Castel  Gandolfo  is  almost  unsurpassed  in  his  whole  work  for  the  subtle 
play  of  light  and  shade  in  a  wonderful  vista  of  arches  (reproduced  below,  pi. 
LXXIV).  This  last  plate  comes  nearest  to  the  best  plates  of  the  Paestum  series 
in  the  impressiveness  of  its  massing  and  composition,  while  its  figures  show  all 
the  characteristic  life,  Callotesque  in  its  vivid  fantasy,  which  is  chiefly  remarkable 
by  its  absence  in  the  Paestum  engravings. 

The  volume  entitled  Della  Magnificeiiza  ed  Architettura  de'  Romani  of  1761 
is  chiefly  devoted  to  details  of  architectural  construction,  and  there  is  only  here 
and  there  a  chance  view,  e.g.  the  Temple  at  Agrigentum  (pi.  XXII),  in  addition 
to  the  technical  illustrations.  In  relation  to  Piranesi's  illustration  of  antiquities, 
and  as  some  point  de  dipart  for  testing  his  faithfulness  as  an  archaeologist,  I  was 
referred  by  the  late  Mr.  Walter  Spiers  to  two  originals  in  the  Soane  Museum, 
reproduced  in  the  Vasi,  Candelabri,  &c.  of  1778.      The  first,  a  Roman  lamp, 


NOTES  ON   PIRANESrS  WORK  19 

reproduced  on  pi.  IX,  is  somewhat  freely  treated ;  in  the  second,  a  sarcophagus 
(pi.  V,  on  the  left),  Piranesi  is  fairly  faithful  to  the  details  of  the  original,  only 
he  emphasizes  the  stems  of  the  flowers  in  the  ornament  on  the  front,  and  the  lid 
is  entirely  different  in  its  ornamentation.  The  latter  fact  can,  I  think,  only  be 
explained  by  the  lid  having  been  changed  since  Piranesi  etched  the  sarcophagus, 
as  the  difference  of  ornament  is  complete,  not  a  matter  of  careless  copying. 

The  last  great  work  of  his  life  was  the  series  of  large  oblong  plates  illus- 
trating the  Temple  at  Paestum,  entitled  Diffirentes  vties  des  quelques  Restes  de 
trois  grands  Edifices  qui  subsistent  encore  dans  le  milieu  de  I  anciennc  Ville  de 
Pesto,  and  published  in  1778.  The  papal  imprimatur  was  dated  15th  September 
1778,  two  months  before  Piranesi's  death.  There  is  nothing  of  greater  dignity  of 
composition  in  his  whole  work,  but  in  details  of  execution,  notably  in  the  figures, 
it  falls  below  his  standard.  I  think  this  is  largely  due  to  the  co-operation  of 
his  son  Francesco.  The  Frontispiece  and  pis.  XIX  and  XX  are  signed  by 
Francesco,  and  I  suspect  that  he  had  a  fair  part  in  many  of  the  remainder.  The 
original  drawings  of  fifteen  of  the  plates  (nos.  2,  3,  4,  5,  6,  7,  8,  9,  10,  11,  12,  i^, 
14,  16,  17)  are  in  the  Soane  Museum,  all  in  the  same  direction  as  the  prints, 
except  no.  2,  which  is  in  reverse.^  Their  frames  are  now  labelled  G.  B.  Piranesi 
and  F.  Piranesi  (the  latter  on  2,  4,  12  and  16),  while  the  Inventory  of  1837  only 
cites  one  (impossible  to  identify)  as  F.  Piranesi.  There  is  no  apparent  authority 
for  the  labels,  but  it  is  possible  that  the  entries  in  the  Inventory  go  back  to  a  contem- 
porary tradition.^  Apart  from  tradition,  and  in  contrast  with  undoubted  drawings  by 
Giovanni  Battista,  one  would  be  inclined  to  attribute  the  whole  series  to  Francesco. 
But  the  architecture  in  both  drawings  and  etchings  is  thoroughly  worthy  of  Gio- 
vanni Battista,  and  the  title-page,  and  signature  Cav.  Piranesi  f.  on  most  of  the 
plates,  seem  too  explicit  to  admit  of  doubt  of  the  father's  authorship.  But  in  both 
series  the  staffage  has  none  of  the  characteristic  style,  the  vivid  and  fantastic 
touch  that  one  notes  in  almost  all  the  etchings  and  drawings  before  this  work. 
The  figures  are  in  fact  coarsely  drawn  in  broad  outlines  with  nothing  of  the 
significance  that  one  is  accustomed  to  find  in  Giovanni  Battista's  work.  These 
coarse  and  awkwardly  drawn  figures  are  far  more  in  the  manner  of  those  one 
meets  in  signed  work  by  Francesco,  e.  g.  pi.  I  of  the  Raccolta  de'  Tempi  Antichi 
(1780),  Moreover,  in  the  architectural  parts  of  this  plate,  as  well  as  in  the  plates 
he  signed  in  the  Paestum  series,  Francesco  showed  that  he  was  capable  of  work 
practically  on  the  same  level  as  the  rest  of  the  Paestum  series  attributed  to  his 
father.  In  his  much  later  work,  e.g.  most  of  the  large  plates  of  the  AntiqiMs  de 
Pompeia  (1804,  &c.),  Francesco  has  developed  an  infinitely  broader  and  coarser 
manner.     He  imitates  the  breadth  and  vigour  of  his  father's  Carceri,  adds  a 

'  No.  6  is  reproduced  in  the  Burlington  Magazine,  Jan.  1914. 

=  Soane,  who  was  in  Rome  1778-80,  is  said  to  have  received  the  drawings  as  a  gift  from 
Francesco. 

C  2 


so  NOTES   ON   PIRANESrS   WORK 

ruthless,  almost  brutal  strength  of  line,  without  ever  showing  one  whit  of  his 
father's  genius  for  significant  line  and  concentration  of  design.  Here,  again,  we 
are  met  by  a  difficulty.  This  series  of  the  Antiqiiith  de  Pompeia  is  described 
on  the  title-page  as  based  on  drawings  by  Giovanni  Battista.  Now  two  large 
drawings,  undoubtedly  related  to  this  work,  which  have  been  attributed  to 
G.  B.  Piranesi,  in  the  British  Museum,  a  View  of  a  Street  in  Pompeii,  similar 
to  pi.  VIII  of  the  Antiquith  de  Pompeia  (no.  1020  in  the  Paris  edition  of  Firmin- 
Didot),'  and  a  View  of  the  Temple  of  Isis,  Pompeii,  show  the  same  coarse 
drawing  of  the  figures  seen  in  the  Paestum  drawings,  with  an  even  exaggerated 
rudeness  of  line.  The  second  drawing  is  not  engraved,  and  the  first  only 
corresponds  roughly  to  one  of  Francesco's  plates,  but,  granting  that  they  were 
originals  done  for  this  work,  are  we  to  follow  the  title-page  and  regard  them  as 
by  Giovanni  Battista  1  My  instinct  is  to  attribute  these,  and  the  Paestum. 
drawings  as  well,  to  Francesco,  but  there  is  of  course  the  extreme  difficulty  of 
meeting  Francesco's  definite  assertion  to  the  contrary.  One  can  hardly  imagine 
him  disclaiming  parentage  of  his  own  work,  especially  when  so  good  as  the 
Paestum.  There  is  one  later  example,  a  double  plate  entitled  Dimostrazione 
dell'  Emissario  del  Lago  Fucino  (ed.  Firmin-Didot,  nos.  1024  and  1025),  in  which 
the  inscriptions  show  that  G.  B.  Piranesi  designed  and  etched  the  plate  which 
was  then  finished  in  engraving  by  Francesco.  It  is,  of  course,  possible  that  the 
father  may  thus  have  done  slighter  sketches  of  Paestum,  which  Francesco  elaborated 
into  their  final  form,  and  that  the  actual  work  on  the  plates  themselves  may  have 
been  shared,  as  in  the  Lago  Fticino.  If  one  is  not  content  with  some  such 
complex  theory,  with  its  opposition  to  documentary  evidence,  one  is  driven  to 
admit  a  remarkable  deterioration  in  the  artistic  quality  of  Giovanni  Battista's 
drawings  in  his  latest  years. 

In  addition  to  the  complete  set  of  twenty-one  plates,  the  Print  Room  of  the 
British  Museum  acquired  in  19 14  from  Messrs.  B.  T.  Batsford  an  impression  of 
a  rejected  plate  of  the  same  subject  as  no.  12,  which  is  as  far  as  I  know  unique 
(reproduced  below,  pi.  LXXIV).  There  is  an  empty  cartouche,  prepared  for 
lettering,  in  the  centre  of  the  lower  margin.  The  point  of  view  is  slightly 
different,  and  the  further  columns  fall  throughout  in  a  different  perspective  to  the 
foreground  series.  The  figures  are  also  difTerent :  on  the  right  are  two  peasants 
in  place  of  the  peasant  with  a  horse ;  two  figures  of  the  artists,  one  of  whom  is 
drawing,  in  the  foreground  in  place  of  the  three  men  with  a  dog ;  while  the 
peasant  seated  against  the  column  towards  the  left  does  not  appear.  Although 
of  the  same  dimensions  as  the  published  plate,  careful  examination  shows  that  it 
is  a  different  plate,  and  not  the  same  copper  reworked.  The  general  impression 
is  a  somewhat  weaker  relation  of  the  foreground  columns  to  the  background 
(which  could  have  been  improved  by  rebiting),  but  in  general  it  seems  as  well 
*  Reproduced  in  Burlington  Magazine,  Jan.  191 4. 


NOTES  ON   PIRANESI'S   WORK  ar 

etched  and  composed  as  the  published  state,  and  the  figures  in  the  centre  fore- 
ground are  more  spirited.     It  is  difficult  to  see  why  it  was  laid  aside. 

The  Paestum  series  are  among  the  few  examples  known  to  me  of  finished 
drawings  for  the  plates,  which  from  their  size  might  have  been  used  in  transfer. 
In  his  early  work  there  was  a  large  number  of  rapid  pen  sketches,  which  can  be 
identified  in  many  cases  as  studies  for  his  etchings,  but  they  are  not  engraver's 
drawings  in  the  same  sense  as  those  of  Paestum  are.  In  his  early  imaginative 
work  such  as  the  '  Prisons ',  with  their  extraordinary  freedom  of  style,  one  would 
expect  that  Piranesi  etched  direct  on  the  plate  without  the  intermediate  aid  of  any 
transfer  drawing.  In  the  case  of  the  more  formal  designs  of  the  Opere  Varie, 
and  the  more  accurate  topographical  plates,  it  is  almost  inconceivable  that  he 
could  have  dispensed  entirely  with  transfer  drawings,  but  their  absence  might  be 
explained  by  Piranesi  having  thrown  them  aside  when  their  purpose  was  fulfilled. 
The  British  Museum  has  one  large  study  for  no.  39  of  the  Vedute  (the  Viezv  of 
the  Capitol  from  the  Side).  It  is  in  the  same  direction  as  the  print,  and  vigor- 
ously drawn  in  red  chalk  (over  a  lighter  sketch  in  black  chalk)  and  touched  with 
sepia.  There  is  also  in  the  Museum  another  large  black  chalk  drawing,  squared 
for  transfer,  of  a  fragment  of  the  Roman  aqueducts,  showing  a  detached  double 
arch,  with  key  stones  representing  the  heads  of  Artemis  and  Hera,  in  the  fore- 
ground. It  is  less  vigorous,  and  probably  later  work  than  the  Capitol  drawing, 
and  possibly  a  study  for  another  Vedttta  not  carried  out  on  the  copper.  Then 
there  are  five  large  red  chalk  drawings  of  Hadrian's  Villa  (probably  intended 
as  finished  drawings  for  the  etchings)  in  the  collection  of  Mr.  Percy  B.  Tubbs, 
two  having  been  used,  with  modifications  and  in  reverse,  in  the  Vedute  di  Roma 
(nos.  93  and  94),  the  others  not  having  been  carried  out.^  They  are  not  actual 
transfer  drawings,  but  they  at  least  show  that  careful  preparatory  studies  were 
made.  They  lack  the  fire  of  G.  B.  Piranesi's  early  work  (e.g.  of  the  study  for  the 
Capitol  just  mentioned),  but  if  not  by  his  hand,  they  are  so  immediately  inspired 
by  him,  that  they  must  either  be  reproductions  of  lost  drawings,  or  the  work  of 
Francesco  Piranesi,  who  at  the  period  of  the  Hadrian's  Villa  plates  (1768-70) 
must  have  been  devilling  for  his  father.  But  on  the  whole  I  think  their  style  fits 
in  with  one's  estimate  of  the  development  of  G.  B.  Piranesi's  work. 

Unfortunately  there  are  no  proofs  of  his  plates  in  such  unfinished  state  as 
to  betray  his  method  of  work.  The  early  states  known,  e.  g.  of  the  '  Views 
of  Rome '  are  already  completed  subjects.  They  do  at  least  show  that  a  light 
pure  etching  was  the  groundwork  of  his  plates,  but  leave  us  in  the  dark  as  to 
how  he  mapped  out  his  subject  on  the  plate  before  etching. 

One  would  expect  with  so  prolific  an  etcher  as  Piranesi  that  his  drawings 
would  be  even  more  numerous  than  his  plates.     No  doubt  they  were,  but  he 

'  See  Grahame  B.  Tubbs,  Architectural  Review,  May  1922,  and  correspondence,  June  and 
July.    See  also  note  under  No.  56  of  the  Vedute. 


23  NOTES  ON   PIRANESrS  WORK 

probably  regarded  his  rapid  sketches  as  of  little  permanent  value,  so  that  com- 
paratively few  have  been  preserved.  The  largest  collection  known  to  me  is  that 
of  the  British  Museum,  and  the  majority  of  the  Museum  drawings  (forty-six  out 
of  a  total  of  fifty-two),  from  the  collection  of  the  Dr.  John  Gott,  Bishop  of 
Truro,  were  only  acquired  in  1908.  Then  in  addition  to  the  Paestum  series 
there  are  two  others  in  the  Soane  Museum  in  the  volumes  of  Adam's  studies,^ 
vigorous  architectural  inventions  reminiscent  of  elements  both  of  the  Carceri 
and  Opere  Varied 

And  the  National  Gallery  of  Scotland  possesses  three  extremely  fine 
examples,  one  a  study  in  the  manner  of  the  Carceri,  and  two  more  formal  designs 
nearly  related  to  the  first  of  the  architectural  inventions  of  the  Opere  Varie? 
Apart  from  these  Museums  I  can  only  refer,  as  far  as  English  collections  are 
concerned,  to  a  few  fine  examples  belonging  to  Mr.  William  Bateson,  Mr.  Henry 
Oppenheimer,  and  Mr.  George  A.  Simonson.* 

As  regards  foreign  museums,  the  Kunsthalle  at  Hamburg  has  a  few  drawings, 
e.  g.  a  small  study  for  pi.  8  of  the  Carceri  (in  reverse  to  the  etching),  and 
a  Carnival  scene  somewhat  in  the  manner  of  Guard!  or  Tiepolo.  Both  are 
reproduced  on  pi.  6%  of  Dr.  Giesecke's  book  on  Piranesi.  And  there  is  a  fine 
drawing  of  classical  buildings  at  Frankfort  reproduced  in  Handzeichnungen  alter 
Meister  im  Stddelscken  Knnstinstitut,  xi.  3. 

The  public  galleries  of  Rome  and  Florence  apparently  possess  none  of  his 
drawings,  and  the  same  is  true  of  Berlin,  Vienna,  Dresden,  Paris,  Brussels, 
Stockholm,  and  Amsterdam,  if  we  except  one  poor  example  at  Paris.  Perhaps 
more  drawings  will  come  to  light  some  day  in  private  collections,  and  dispel  the 
illusion  of  their  rarity." 

Several  of  the  Museum  drawings  have  been  reproduced  by  the  Vasari 
Society  (v.  14,  15,  vi.  15,  16,  vii.  15,  viii.  11,  12,  13,  x.  la).  Most  of  the  series 
are  of  the  early  period,  and  many  more  or  less  closely  related  to  subjects  in  the 
Opere  Varie  and  Carceri.  They  are  all  in  pen  and  sepia,  sometimes  over  red 
chalk,  and  with  sepia  or  Indian  ink  wash.  The  majority  are  extraordinarily 
brilliant  and  rapid  in  manner,  but  here  and  there  are  architectural  designs  of 
precise  penmanship,  which  might  have  been  regarded  as  by  another  hand  were 

'  Adam  drawings,  vol.  xxvi,  pi.  163,  and  volume  entitled  '  Miscellaneous  Drawings  and 
Sketches  by  Robert  Adam  and  others  '. 

'  The  one  more  allied  to  the  Car^-m  reproduced  in  the  Burlington  Magazine,  Jan.  1914. 

'  Two  reproduced  in  the  Burlington  Magazine,  May  191 1.  The  third  was  exhibited  in 
Rome  in  1911  (there  is  a  reproduction  in  Sir  Robert  Witi's  collection). 

*  A  splendid  drawing  in  Mr.  Simonson's  collection  is  of  the  same  style  as  the  British  Museum 
'  Temple  of  Victory ',  and  two  of  the  Edinburgh  examples.  A  reproduction  is  in  Sir  Robert 
Witt's  collection. 

•  Since  writing  the  above  I  have  heard  of  half  a  dozen  drawings  in  the  collection  of  Prince 
W.  Argoutinsky-Do'goroukofF,  Paris. 


NOTES  ON  PIRANESrS   WORK  »3 

it  not  for  undoubted  sketches  on  the  reverse  of  the  same  sheets.  In  this  broader 
manner,  I  would  mention  a  fine  study  in  sepia  and  red  chalk  for  pi.  1 1  of  the 
Carceri,  another  similar  study  in  sepia  and  red  chalk  of  half  a  span  of  a  bridge, 
and  most  dignified  of  all,  an  Architectural  Desigti  with  broad  flights  of  steps 
leading  under  two  round  arches  (Vasari  Soc.  v.  14). 

A  small  oblong  sheet  containing  three  studies  of  the  interior  of  the  Pantheon, 
with  border  lines  spacing  each  composition,  is  probably  related  to  the  small 
interior  of  the  Pantheon  that  appears  in  vol.  i  of  the  Antichitd  Romane.  There  is 
another  much  larger  study  used  in  the  Antichitd  Romane,  i.  e.  for  the  frontispiece 
(pi.  2)  of  vol.  ii  of  this  work  {Antiquus  Bivii  Viarum  Appiae  et  Ardeatinae 
Prospectus).  It  is  in  the  same  direction  as  the  print,  and  drawn  in  red  chalk  and 
sepia  wash  in  Piranesi's  most  vigorous  manner. 

A  study  in  a  softer  manner  that  recalls  the  tranquil  atmosphere  of  Hubert 
Robert  (Vasari  Soc.  vi.  16),  and  an  allegorical  drawing  of  Two  Skeletons,  in 
the  style  of  Tiepolo,  might  without  further  evidence  have  been  ascribed  to  those 
masters,  but  there  is  not  sufficient  reason  to  doubt  the  old  attribution  to 
Piranesi.^ 

One  of  the  lai^est  and  most  complete  of  the  drawings  in  the  British  Museum 
is  a  Design  for  a  Temple  of  Victory^  again  after  the  style  of  some  of  the  Opere 
Varie.  The  figures  are  drawn  in  a  manner  that  almost  rivals  Rembrandt  in  its 
masterly  vigour. 

Another  with  something  of  the  reserved  strength  of  Canaletto,  but  far  more 
vigorous  both  in  line  and  chiaroscuro,  is  a  darkly  shaded  drawing  of  a  Courtyard 
seen  through  an  arch,  presented  to  the  British  Museum  by  Mr.  H.  S.  Ashbee 
in  1900. 

In  his  genius  for  brilliant  effects  of  light  and  shade  Piranesi  has  few  rivals 
among  his  contemporaries  except  Tiepolo,  whose  rare  architectural  studies 
(e.  g.  one  in  the  British  Museum  and  others  in  the  collections  of  Mr.  Ricketts 
and  Mr.  Shannon,  Mr.  Henry  Oppenheimer,  Mr.  G.  Bellingham  Smith  and 
Mr.  William  Bateson)  are  so  vivid  and  convincing  in  their  massing  and  design. 
The  extraordinary  dash  and  vitality  of  touch  seen  in  Piranesi's  best  drawings, 
and  equally,  if  not  in  heightened  intensity,  in  such  etchings  as  the  Carceri,  give 
him  every  title  to  be  called  the  Rembrandt  of  Architecture. 

^  Collectors  should  be  reminded  that  an  architectural  draughtsman  whose  drawings  are 
surprisingly  near  Piranesi  in  style  is  Domenico  Fossati  (Venice,  1743-84),  of  whom  there  are 
examples  in  the  British  Museum  and  Sir  Robert  Witt's  collection.  Another  draughtsman  of 
real  distinction  and  power  of  chiaroscuro  in  treatment  of  architecture,  and  worthy  to  be 
compared  with  Piranesi,  is  Mauro  Tesi  (1730-66).  Two  of  his  drawings  in  the  Royal  Institute 
of  British  Architects  are  reproduced  at  p.  60  in  Sir  Reginald  Blomfield's  Architectural 
Drawing  and  Draughtsmen  (London,  1 912). 

'  Reproduced  in  the  Burlington  Magazine,  Jan.  1914. 


III.     CATALOGUE   OF   THE   'PRISONS' 

The  States  of  Piranesi's  Carceri  fall  under  two  main  divisions. 

I.  The  edition  published  by  Bouchard  with  title  beginning  Inveuzioni  Caprk 
di  Carceri. 

II.  The  edition  published  by  Piranesi  himself  with  title  beginning  Carceri 
d  Invenzione. 

Bouchard's  edition  contains  fourteen  unnumbered  plates,  and  is  known  in  two 
issues : 

{a)  With  name  spelt  Buzard  on  title-page. 
(b)  With  name  altered  to  Bouchard. 

The  other  plates  of  these  two  issues  are  unchanged,  so  that  it  is  simplest  to 
speak  of  Bouchard's  two  issues  as  the  first  edition,  and  Piranesi's  as  the  second, 
rather  than  to  make  a  second  edition  of  Bouchard's  issue  with  altered  title-page- 
Two  plates  were  added  in  Piranesi's  edition  (pi.  2  and  5),  and  the  plates 
numbered  I-XVI.  The  lightly  etched  plates  of  Bouchard's  edition  were  gener- 
ally reworked  and  darkened,  and  in  most  cases  altered  very  considerably  in 
details  of  composition.  For  further  details  see  below,  and  pp.  ia-14  and  81. 
The  letter  F  after  the  title  of  each  plate  refers  to  Focillon's  Catalogue. 


THE   CARCERI. 
1.  TITLE-PLATE.     F.  24. 

Interior  of  a  prison  with  a  barred  window  in  lower  1.  foreground,  surmounted  by  a  slab 
bearing  the  title  to  the  series ;  a  staircase  is  seen  in  two  flights  under  an  arch  on  the  r. ; 
a  wooden  bridge  passes  diagonally  across  the  upper  r.  corner  of  plate ;  a  grotesque  figure 
of  a  man  sprawling  on  the  cornice  above  the  title ;  a  heavy  wooden  beam  projecting  over 
the  title  upwards  from  the  left. 
[2iixi6|.] 

I.  Title :  Invemioni  \  Caprk  di  Carceri  \  all  acqua  forte  \  tlatte  in  luce  \  da  Giovani  \  Buzard 
in  1  Roma  Mercante  \  al  Corso.    Before  signature  and  number.    Light  in  tone  throughout. 
Rome  (Accademia  di  S.  Luca).     Dresden.    Boston.     Manchester  (John  Rylands 
Library). 

IL  Title  altered  to  :  Invenzioni  \  capric  di  Carceri  \  alP  acqua  forte  \  dattein  luce  \  da  Giovani  \ 
Bouchard  in  \  Roma  Mercante  \  al  Corso. 

B.M.  SOANE.  Paris.  Munich.  Blomfield.  Charrington.  Oxford  (Ashmolean). 
III.  Title  altered  to:  Carceri  \  cF Invenzione  \  di  G.  Battista  \  Piranesi  \  Archit.  \  Vene. 
Numbered  I  upper  1.  Signed  below  towards  1. :  Piranesi  F.  Strong  lines  framing  the  subject 
added  near  plate  line ;  a  new  bridge  introduced  across  the  centre  foreground ;  machines  or 


NOTES  AND  CATALOGUE  25 

emblems  of  torture  added,  i.  e.  a  spiked  wheel  in  lower  foreground,  a  horizontal  spiked  beam 
near  the  centre  of  left  border ;  and  heavy  chains  in  lower  1.  comer  ;  the  galleries  and  arches  in 
the  background  also  changed,  and  the  plate  generally  darkened. 
IV.  Additional  number,  349  above  towards  centre.    Ed.  Firmin-Didot,  Paris. 

a.  AN  ARCHITECTURAL  MEDLEY,  WITH  A  MAN  ON  THE  RACK  IN  THE 

FOREGROUND.    UPRIGHT.    F.  25. 

[22|xi6|.]      Signed  lower  r.  margin:  Firanesi  F.,  and  address  in  centre  of  margin: 

Presso  I'Aulore  a  Sirada  Felice  vicino  alia  Trinita  de'  Monti.    Fogli  Sedici,  al prezzo  di paoli 

venti. 

A  series  of  Roman  arches  meeting  in  a  central  pier  ;  through  the  arches  1.  and  r.  are  seen 

various  colonnaded  buildings,  one  on  the  1.  with  pediment  being  surmounted  by  a  battle- 

mented  mediaeval  tower ;  the  lower  part  of  plate,  in  the  foreground,  is  filled  with  a  medley 

of  architectural  remains,  with  sculptured  reliefs ;  a  crowd  of  spectators  on  a  wooden  gallery 

near  centre  of  r.  margin  watches  the  torture  of  the  man  on  the  rack  with  excited  gestures. 

I.  As  described.    Numbered  II  upper  r. 

II.  Additional  number  350  upper  r.    Ed.  Firmin-Didot,  Paris. 
This  plate  did  not  appear  in  Bouchard's  editions. 

3.  A  VAULTED  BUILDING  WITH  A  STAIRCASE  LEADING  ROUND  A 
CENTRAL  COLUMN  WITH  BARRED  WINDOW  IN  THE  CENTRE.  UP- 
RIGHT.   F.  26. 

[2I|XI6J.] 

I.  Before  signature  and  number.  Light  in  tone  throughout.  Rome  (Acc.  di  S.  Luca). 
Dresden.  Boston.  Manchester.  B.M.  Soane.  Munich.  Oxford  (Ashmolean). 
Blomfield.    Charrington. 

II.  Signed  in  lower  1.:  Piranesi  F.  Numbered  III  upper  1.  The  plate  darkened  throughout  by 
additional  shading ;  a  triangular  erection  of  beams  added  at  foot  of  lowest  flight  of  stairs ; 
scaffolding  added  on  cornice  just  above  centre  of  r.  margin. 

III.  Additional  number  351  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

4.  A  LOFTY  ARCH,  WITH  VISTA  ON  TO  AN  ARCADE  SURMOUNTED  BY 
A  FRIEZE.    UPRIGHT.    F.  27. 

The  subject  framed  in  a  darkly  shaded  arch  built  of  massive  stones  from  which  hangs  a 
lamp  on  a  long  rope ;  two  other  ropes  attached  to  a  beam  above  are  brought  in  a  curve  to 
the  left  side  of  the  arch ;  a  broad  flight  of  steps  leads  beyond  to  the  arcade  of  which  part  of 
two  round  arches  are  visible;  beyond  the  arcade  a  Colonnade  (like  Bernini's  before 
St.  Peter's,  Rome). 

[2I|XI6|.] 

I.  As  described.    Before  signature  and  number.    Light  in  tone  throughout.    Rome  (Act  di 

5.  Luca).  Dresden.  Boston.  Manchester.  B.M.  Soane.  Paris.  Munich.  Oxford 
(Ashmolean).    Blomfield.    Charrington. 


26  THE   « PRISONS' 

II.  Signed  in  lower  r.  margin  :  Piranesi  F.  Numbered  IV  upper  r.  Strong  lines  framing  the 
subject  added  near  margin  ;  a  further  arch  added  above  the  arcade  in  background,  cutting 
off  a  three-cornered  space  of  sky  at  upper  r.  of  arch  in  foreground ;  various  machines  of  torture 
added,  e-g.  a  wheel  1.,  and  spiked  beams  and  heavy  chains  foreground  r. ;  a  wooden  gallery 
reached  by  a  ladder  springs  from  the  arcade  in  background  ;  the  frieze  is  now  surmounted  by  a 
railing  and  four  columns  (instead  of  one).    Generally  darkened  in  tone. 

III.  Additional  number,  352,  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

5.  A  PERSPECTIVE  OF  ROMAN  ARCHES,  WITH  TWO  LIONS  CARVED  IN 
RELIEF  ON  STONE  SLABS  IN  THE  FOREGROUND.    UPRIGHT.    F.  28. 

C2  2iXl6J.] 

I.  Signed,  lower  r. :  Piranesi  F. 

II.  Additional  number,  353,  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 
This  plate  did  not  appear  in  Bouchard's  editions. 

6.  A  PERSPECTIVE  OF  ARCHES,  WITH  A  SMOKING  FIRE  IN  THE 
CENTRE.    UPRIGHT.     F.  29. 

Interior  of  a  huge  building  with  light  entering  from  the  left ;  ropes  hanging  from  a  pulley 
attached  to  a  lofty  pier  in  the  left  foreground :  a  broad  flight  of  steps  leads  through  a  round 
arch  in  the  foreground  above  the  left  of  which  a  fire  is  smoking ;  narrower  flights  of  stairs 
lead  high  up  beyond  two  further  arches  in  the  background. 

[2I|X15|] 

I.  Before  signature  and  number.  Lighter  in  tone  throughout.  ROME  (ACC.  DI  S.  LuCa) 
Dresden.  Boston.  Manchester.  B.M.  Soane.  S.K.  Paris.  Munich.  Blomfield. 
Charrington. 

II.  Signed,  lower  1.  :/"«>•«««; /%  Numbered  VI  upper  r.  Generally  darkened  in  tone.  Five 
large  posts,  shaped  like  the  shells  of  heavy  guns,  added  in  the  foreground ;  spiked  beams 
against  the  post  nearest  to  r. ;  two  ladders  added,  one  beneath  the  arch  in  foreground,  the 
other  against  the  pier  1. ;  a  beam  from  which  hang  pulley  and  ropes,  now  projects  from  the 
centre  of  the  foremost  arch;  the  arch  itself  is  surmounted  by  a  railing,  and  further  beams  and 
figures  are  added  about  the  smoking  fire. 

III.  Additional  number,  354,  upper  r.    Ed.  Firmin-Didot,  Paris. 

7.  AN  IMMENSE  INTERIOR.  WITH  NUMEROUS  WOODEN  GALLERIES, 
AND  A  DRAWBRIDGE  IN  THE  CENTRE.    UPRIGHT.    F.  30. 

[2i|  X  1 6 J.]     Signed,  lower  1. :  Piranesi f. 

I.  Before  number.  Light  in  tone  throughout.  ROME  (Acc.  DI  S.  Loca).  Dresden.  Boston. 
Manchester.    B.M.    Soane.    S.K.    Paris.    Munich.    Blomfield.    Charrington. 

II.  Numbered  VII  upper  L  Strong  lines  framing  the  subject  added  near  plate  mark  ;  the 
plate  darkened  throughout  with  additional  shading  and  new  work.  A  large  wooden  bridge,  on 
two  wooden  piers,  rising  from  the  top  of  the  lowest  flight  of  stairs,  added  across  the  centre  of  the 
plate ;  heavy  beam  and  a  chain  added  in  lower  I. ;  the  number  of  wooden  galleries  radiating 
from  the  top  of  the  column  in  upper  r.  of  plate  increased  from  three  to  six. 

III.  Additional  number,  355,  upper  1.    Ed.  Firmin-Didot,  Paris. 


NOTES  AND  CATALOGUE  a; 

8.  A  VAST  INTERIOR,  WITH  TROPHIES  AT  THE  FOOT  OF  A  BROAD 
STAIRCASE  AND  TWO  LARGE  FLAGS  ON  THE  LEFT.    UPRIGHT.    F.  31. 

Two  groups  of  four  figures  each  in  the  foreground ;  one  figure  at  top  of  first  flight  of 
stairs  above  the  trophies. 

I.  Before  signature  and  number.  Light  in  tone  throughout.  ROME  (Acc.  Di  S.  Luca) 
Dresden.  Boston.  Manchester.  B.M.  Soane.  Munich.  Blomfield.  Charrington, 

II.  Signed  lower  1. :  Piranesi  F.  Numbered  VIII  upper  r.  Darkened  throughout  in  tone  by 
added  shading  and  new  work.  Series  of  arches  and  wooden  staircases  added  in  upper  part  of 
plate  and  further  vistas  opened  up  ;  over  twenty  figures,  generally  standing  in  couples,  added  at 
various  places  on  the  galleries  in  addition  to  those  mentioned  above;  a  heavily  shaded  cornice  of 
stone  added  in  lower  1.  foreground,  also  a  post  like  the  shell  of  a  heavy  gun  with  chains  attached, 
and  two  beams  to  the  r.  of  the  foremost  group  of  four  figures. 

III.  Additional  number,  356,  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

9.  A  PRISON  DOOR,  SURMOUNTED  BY  A  COLOSSAL  WHEEL-SHAPED 
OPENING,  CROSSED  BY  BEAMS.    UPRIGHT.     F.  32. 

[2i|xi6.]     Signed,  lower  1. :  Piranesi f. 

I.  Before  number.  Light  in  tone  throughout.  Rome  (Acc.  di  S.  Luca).  Dresden.  Boston. 
Manchester  B.M.  Soane.  S.K.  Oxford  (Ashmolean).  Munich.  Blomfield. 
Charrington. 

II.  Numbered  IX  upper  1. ;  additional  shading  and  new  work  darkening  the  tone  through- 
out ;  beams  in  the  shape  of  a  gallows  added  in  lower  1.  comer. 

III.  Additional  number,  357,  in  upper  r.    Ed.  Firmin-Didot,  Paris. 

10.  A  VAST  GALLERY,  WITH  ROUND  ARCHES  AND  A  GROUP  OF 
PRISONERS  ON  A  PROJECTING  STONE  IN  THE  FOREGROUND.  OBLONG. 
F.  33- 

[i6|  X  2ii.]     Signed,  lower  1. :  Piranesi/. 

I.  Before  number.  Lighter  in  tone  throughout.  Rome  (Acc.  Di  S.  LuCA).  Dresden.  Boston. 
Manchester.    B.M.    Soane.    Munich.    Blomfield.    Charkington. 

11.  Numbered  X  upper  r.  Added  shading  and  new  work,  generally  darkening  the  tone.  Large 
beams  in  the  form  of  a  gallows,  with  heavy  chains  attached,  added  in  lower  r. ;  a  further 
wooden  gallery  added  connecting  the  galleries  of  the  upper  r.  hand  portion  of  the  building  with 
the  central  gallery  above,  beneath  the  main  arch. 

III.  Additional  number,  358,  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

II.  A  SERIES  OF  GALLERIES  WITH  ROUND  ARCHES  AND  A  CRANE- 
LIKE  ERECTION  OF  BEAMS  IN  THE  RIGHT  FOREGROUND.  OBLONG. 
F.  34- 

[l6X2l|.] 

I.  Before  signature  and  number.  Light  in  tone  throughout.  Rome  (Acc.  di  S.  Luca). 
Dresden.  Boston.  Manchester.  B.M.  Soane.  S.K.  Munich.  Blomfield. 
Charrington. 


a8  THE  'PRISONS' 

II.  Signed,  lower  1. :  Piranesi  F.  Numbered  XI  above  towards  r.  Added  shading  and  work, 
generally  darkening  the  subject.  A  stone  erection  flanked  by  two  round  turrets  added  in  the 
centre  of  the  composition  where  smoke  appeared  in  the  first  state ;  various  arches  and  two 
flights  of  steps  added  beneath  the  lower  round  arch ;  further  series  of  aiches  opening  further 
vistas  added  beyond  the  double  arches  above  in  place  of  the  simple  vaulting  of  the  first  state  ; 
two  large  projecting  beams  and  a  wooden  ladder  added  in  lower  1.  foreground,  with  chains  (or 
ropes)  hanging  from  the  larger  beam  and  connecting  it  in  a  curving  line  with  the  centre  of  the 
roof ;  the  simple  curve  of  the  larger  arch  in  upper  foreground  broken  by  added  window  and 
cornice  in  the  stonework  upper  1. 

III.  Additional  niunber,  359,  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

la.  AN  ARCHED  CHAMBER  WITH  LOWER  ARCHES   SURMOUNTED    BY 
POSTS  AND  CHAINS.     STRONG   LIGHT  ENTERING   FROM   THE   RIGHT 
HAND.    OBLONG.    F.  35. 
[i6JX2i^.]     Signed,  lower  1. :  /'/>a««j'^ 

I.  Before  number.  Light  in  tone  throughout.  ROME  (Acc.  Di  S.  Luca).  Dresden. 
Boston.  Manchester.  B.M.  Soane.  S.K.  Paris.  Munich.  Oxford  (Ashmolean). 
Blomfield.    Charrington. 

II.  Numbered  XII  upper  r.  Additional  shading  and  work  darkening  the  plate  throughout. 
The  erection  of  beams  (in  shape  of  vaulting  horse)  in  lower  r.  foreground  which  before  had  a 
flat  top,  is  now  covered  with  five  spikes ;  spikes  are  also  added  on  the  post  in  lower  r.  comer. 

III.  Additional  number,  360,  in  upper  r.    Ed.  Firmin-Didot,  Paris. 

13.  COLONNADED  INTERIOR  WITH  A  BROAD  STAIRCASE  DIVIDED  IN 
TWO  BY  A  STONE  PROJECTION  WITH  BARRED  WINDOW.  OBLONG. 
F.  36. 

[i6x  21^.]     Signed,  lower  r. :  Piranesi/. 

I.  Before  number.  Light  in  tone  throughout.  Rome  (Acc.  di  S.  Luca).  Dresden.  Boston. 
Manchester.  B.M.  Soane.  S.K.  Oxford  (Ashmolean).  Munich.  Blomfield. 
Charrington. 

II.  Numbered  XIII  upper  r.  Several  series  of  arches  opening  up  further  vistas  added  at  the 
top  of  the  staircase  on  either  side  of  central  column ;  and  ladder  now  rests  against  the  wall  in 
left  foreground :  the  top  of  a  door  added  in  the  stone  face  in  lower  r.  corner  ;  various  cross 
beams  added  near  the  roof  (e.g.  the  large  beam  extending  from  centre  to  r.  upper  comer  is  now 
joined  to  the  roof  with  four  upright  beams ;  a  corona  chandelier  (?)  now  hangs  from  the  large 
beam  near  upper  r. 

III.  Additional  number,  361,  below  the  large  cross  beam  to  r.  of  centre  above.  Ed.  Firmin- 
Didot,  Paris. 

14.  A  PERSPECTIVE  OF  COLONNADES  WITH  ZIG-ZAG  STAIRCASE,  AND 
TWO  FIGURES  ON  ARCH  OVERLOOKING  THE  CENTRAL  FLIGHT. 
OBLONG.    F.  37. 

[l6JX2li.] 

I.  Before  signature  and  number.  Lighter  in  tone  throughout.  Rome  (Acc.  di  S.  Luca). 
Dresden.  Boston.  Manchester.  B.M.  Soane.  S.K.  Paris.  Munich.  Blomfield. 
Charrington. 


NOTES  AND   CATALOGUE  29 

II.  Signed,  below  towards  1. :  Piranesi  F.  Numbered  XIV  upper  r.  Strong  lines  ruled  round 
the  subject  near  plate  line.  The  short  beam  which  sloped  upwards  from  lower  r.  comer  is  now 
fitted  with  spikes  ;  another  beam  holding  a  lamp  projects  from  near  the  middle  of  r.  margin ; 
further  galleries  with  wooden  railings  added,  e.  g.  between  the  two  main  arches  on  the  right 
side  of  plate,  and  a  series  of  arches  and  galleries  now  opened  up  beyond  these  main  arches. 

III.  Additional  number,  362,  at  top  of  the  arch-like  pier  to  r.  of  centre.  Ed.  Firmin-Didot, 
Paris. 

15.  ROUND  ARCHES  SPRINGING  FROM  A  SQUARE  COLUMN,  ORNA- 
MENTED WITH  THE  HEADS  OF  GIANTS  WITH  RINGS  IN  THEIR 
MOUTHS.    OBLONG.    F,  38. 

[i6|x  21^.]     Signed  (from  second  stite  onwards),  below,  towards  1.:  Piranesi  F. 

I.  Before  signature  and  number.  Light  in  tone  throughout.  Rome  (Acc.  di  S.  Luca). 
Dresden.  Boston.  Manchester.  B.M.  Soane.  S.K.  Paris.  Munich.  Blomfield. 
Charrington. 

II.  Signed  lower  1. :  Piranesi  F.  Numbered  XV  upper  I.  Additional  shading  and  new  work, 
darkening  the  plate  throughout ;  various  wooden  galleries  and  staircases  added  between  the 
arches,  and  further  vistas  of  smaller  arches  opened  up  r.  and  1.  of  the  central  pier,  with  figures 
(generally  in  pairs)  at  various  points  ;  the  slab  at  foot  of  central  pier,  vacant  in  first  state  (except 
for  indefinite  shading)  now  contains  a  relief  with  figures. 

III.  Additional  number,  363,  in  the  spandril  of  foremost  arch  near  centre  above.  Ed.  Firmin- 
Didot,  Paris. 

16.  A  WIDE  HALL  WITH  LOW  TIMBERED  ROOF  IN  THE  FOREGROUND 
FROM  WHICH  HANGS  A  LANTERN.     OBLONG.    F.  39. 

[I5|X2I^.] 

I.  Before  signature  and  number.  Light  in  tone  throughout.  At  head  of  first  flight  of  stairs 
a  round  arch  surmounted  by  a  gallery  which  is  connected  by  a  broad  ladder  with  the  wooden 
gallery  in  upper  foreground.  Rome  (Acc.  di  S.  Luca).  Dresden.  Boston.  Manchester. 
B.M.    Soane.    Oxford  (Ashmolean).    Paris.    Munich.    Blomfield.    Charrington. 

II.  Signed  lower  r.  :  Piranesi  F.  Numbered  XVI  lower  r.  Additional  shading  and  new  work, 
darkening  the  plate  throughout.  The  background  entirely  changed  :  a  monument  is  added  in 
the  centre  (in  place  of  the  suspended  lamp  in  I)  with  two  sculptured  heads  in  niches  and  bearing 
the  inscription  IMPIEITATI  |  ET  |  MALIS  |  ARTIBVS  ;  behind  the  monument  a  round 
column  with  slab  containing  inscription  AD  i  TERROREM  |  INCRESCEN  [  AVDACIAE  ; 
another  round  column  further  r.  encircled  with  figures  in  relief  and  inscribed  at  top   INFAME 

SCELVSS  I I  Rl.  INFELICI.  SVSFE  | |  .      A    fluted   column    with    Doric 

capital  added  1.  of  the  monument :  heavy  beams  and  chains  added  in  various  places  (e.g.  in 
immediate  foreground  lower  1.)  and  a  complex  series  of  new  arches,  and  staircases  opening 
further  vistas  in  the  background. 

III.  Additional  number,  364,  towards  upper  centre.    Ed.  Firmin-Didot,  Paris. 


IV.     CATALOGUE   OF   THE   'VIEWS   OF   ROME' 
INTRODUCTORY  NOTES. 

I.  The  Catalogue  is  arranged  in  the  chronological  order  of  Piranesi's 
engraved  Catalogue. 

3.  The  English  title  given  is  not  a  mere  translation  of  the  Italian  title.  In 
antiquities  it  attempts  to  give  an  accurate  designation  according  to  recent  research. 
The  Italian  title  is  also  quoted,  and  the  Index,  taken  primarily  from  the  correct 
title,  gives  cross-references  from  the  erroneous  titles.  Unless  otherwise  described 
the  title  is  engraved  in  the  lower  margin. 

3.  The  number  immediately  following  the  English  title  is  that  of  the  printed 
Catalogue  of  179a  (Rome),  classified  according  to  subject.  It  is  in  this  classifi- 
cation and  order  that  posthumous  editions  generally  appear.  The  second 
number  preceded  by  letter  F  refers  to  Focillon's  catalogue. 

The  date  that  follows  is  taken  from  the  Catalogue  of  1793,  with  notes  of 
query  where  these  appear  to  be  erroneous. 

4.  Dimensions  of  plate  given  in  inches. 

Note.  With  regard  to  sizes  of  the  plates,  it  may  be  noted  that  the  early 
plates  up  to  no.  59  (1760)  average  a  smaller  size  than  the  later  (i.e.  about 
15  X  21  inches,  only  very  seldom  reaching  the  size  of  17  x  37) ;  from  no.  60  (1761) 
the  size  18  x  27  occasionally  occurs,  while  after  no.  95  (1770)  this  largest  size 
18x27  becomes  the  most  usual.  This  may  occasionally  be  a  guide  in  deciding 
which  is  the  earlier  of  two  plates  of  the  same  subject,  not  sufficiently  distinguished 
in  the  old  lists. 

5.  The  signature  is  always  quoted  where  it  appears. 

6.  The  references  to  addresses  and  prices  are  quoted  in  shortened  form  as 
on  opposite  page. 

7.  The  references  to  collections  will  be  explained  by  the  section  above,  p.  ix. 
The  quotation  of  one  or  two  collections  does  not  necessarily  imply  the  rarity  of 
a  particular  state,  but  is  given  as  some  definite  documentation  of  the  state 
described.  I  have  not  referred  in  the  catalogue  to  impressions  in  dealers'  hands 
except  in  an  occasional  example  of  an  early  state  not  known  to  me  in  a  public  or 
private  collection,  though  I  have  cited  one  or  two  rare  volumes  or  series  in  the 
trade,  in  my  List  of  Piranesi's  Published  Works. 


INTRODUCTORY  NOTES 


3' 


Reference. 

Covers  inscriptions 

on  Plates. 

Address:  Bouchard. 

Address  :      Bouchard 
e  Cravier. 

Address  and  price : 
Auiore,  Palazzo 
Tomati.     Paoli  2^. 

Address  and  price : 
Auiore,  Strada  Fe- 
lice.   Paoli  2  J. 

Price  and  address : 
Paoli  2\.  Auiore, 
Palazzo  Tomati. 

Price  and  address : 
Paoli  3.  Autore, 
Palazzo  Tomati. 

Address  and  price : 
Autore.     Paoli  2\. 

Address :  Auiore. 

Sivendono  da  Cio.  Bouchard  in  Romapresso 
S.  Marcello  sulla  via  del  Corso. 

Si  vendono  da  SSr  Bouchard  e  Cravier 
Mercanti  libraj  al  Corso  presso  S.  Mar- 
cello. 

Presso  r  auiore  a  Strada  Felice  nel  Palazzo 
Tomati  vicino  alia  Trinity  de'  Monti.  A 
paoli  due  e  mezzo. 

Ditto,    nel  Palazzo  Tomati  omitted. 

Si  vendono  paoli  due  e  mezzo  appo  P Autore 
nel  Palazzo  del  Si^r  Co.  Tomati  e  Strada 
Felice. 

Si  vendono  paoli  tre  presso  il  medesimo 
Autore  nel  Palazzo  del  Conte  Tomati  a 
Strada  Felice  vicino  alia  Trinitd.  </«'  Monti. 

(1)  Presso  r Auiore.    A  Paoli  due  e  mezzo. 

(2)  Si  vende  (or  vendono)  presso  P Autore 
a  paoli  due  e  mezzo. 

(3)  In  Roma  presso  r Autore  a  paoli  due  e 
fnezzo. 

Presso  r Autore. 

1.8,  IS,  19,  52. 

2,  3,  4,  5.  6,  7,  9,  10, 
11,14,16,17,18,21, 
22,24,26,27,28,31, 
32,  33,  34,  35,  37,  40, 
41,42  43,45,46,48, 
49,  51,  54,  58,  59- 

1-9,  11,  IS-19,  21-35, 
37,  38,  40,  42-59, 61. 

10,  14. 

64. 

60. 

12,  20,  41,  69. 
66,  68. 

70. 

36,  39- 

No  address  or  price  on  the  following  nos. 

13,  62,  63,  6s,  67,  71- 
137. 

8.     THE  MAIN  DIVISIONS  OF  STATE. 

A.  Proofs  before  Titles.    Very  rare.    I  have  only  noted  two,  i.  e.  in  nos.  16 
and  78. 

B.  Contemporary  Roman  Editions. 

I.e.  printed  before  1778, during  G.  B.  Piranesi's  lifetime. 

The  following  subdivisions  (i)-(3)  only  refer  to  plates  1-59.  After  pi.  59, 
only  a  small  number  have  Piranesi's  address  and  price  (i.e.  nos.  60,  61,  64,  66, 
68,  69,  70),  and  these  appear  on  the  earliest  known  states.  From  71  onwards 
address  and  price  do  not  appear. 

(i)  Before  address  and  price. 

In  this  state  the  plates  are  generally  more  lightly  etched. 
Even  in  this  category  there  are  occasional  examples  of  further  subdivision : 
(a)  Before  rebiting  or  any  added  work ;  {l>)  added  work,  e.  g.  in  nos.  3  and  50,  or 


3a  THE  'VIEWS  OF  ROME' 

rebiting,  e.g.  no.  i8.  Possibly  nos.  4,  8,  58  and  59  may  also  show  varieties 
before  and  after  heavier  biting,  but  I  have  not  recorded  these  as  the  differences 
are  difficult  to  define  exactly. 

On  laid  paper,  often  rather  thinner  than  B  (2)  and  (3),  In  general  the  thinner 
paper  is  harder  and  less  absorbent,  and  perhaps  some  apparent  differences  may 
be  in  the  impression  and  dependent  on  the  quality  of  paper  and  the  way  it  takes 
the  ink  rather  than  on  re-biting. 

Watermark  no.  i. 

B.  M.  TUBBS.  The  rare  editions  with  title-page  Lc  Magnificenze  di  Roma, 
1 751.    (SoANE,  Blomfield,  Charrington,  Leicester  Galleries.) 

(2)  With  address  of  '  Bouchard  '  or  '  Bouchard  e  Gravier  '. 

In  this  state  the  plates  are  sometimes  rebitten  and  darkened,  with  or  without 
added  work. 

On  thick  laid  paper. 

Watermarks  nos.  2  and  3. 

Davie  s. 

Other  impressions  of  this  edition  in  the  COTSWOLD  Gallery  (1922). 

(3)  With  Piranesi's  address  and  price. 

Under  this  heading  should  be  included  impressions  taken  during  G.  B. 
Piranesi's  lifetime  of  plates  which  never  bore  Piranesi's  address  or  price. 

In  this  state  the  plates  are  generally  rebitten  and  darkened,  with  or  without 
added  work. 

In  various  subjects  a  further  subdivision  of  this  state  is  found  : 

(a)  before  rebiting  and  added  work.     E.  g.  B.M.L.  and  Tubes.     Rare. 

\b)  With  rebiting  and  added  work.     B.M.L.,  King's,  &c. 

On  thick  laid  paper. 

Watermarks  nos.  3  and  4  (the  latter  only  very  occasionally).  3  {b)  is  the 
ordinary  state  in  which  good  impressions  are  met  with.  From  C  onwards  im- 
pressions show  a  gradual  deterioration  in  quality. 

C.  Posthumous  Roman  Editions. 

I.e.  printed  after  G.  B.  Piranesi's  death  in  1778. 

Price  erased,  i.e.  on  plates  1-59,  60,  61,  64,  66,  68,  69,  70. 

In  some  cases  rebiting,  where  this  had  not  occurred  earlier. 

Some  plates  bear  reference  nos.  in  Arabic  numerals  (distinguishing  class  of 
subject,  i.  e.  temples,  bridges,  &c.)  and  in  Roman  numerals  (distinguishing  several 
versions  of  one  subject)  corresponding  to  the  printed  Catalogue,  Rome,  1792. 

In  a  considerable  number  of  the  plates  where  address  and  price  never  occur, 
there  is  no  difference  between  B  and  C. 

Laid  paper. 

Watermarks  nos.  4,  5,  and  6. 


INTRODUCTORY  NOTES  33 

D.  First  Paris  Edition,  1800-7. 

Issued  by  Francesco  and  Pietro  Piranesi. 

In  many  cases  the  plates  are  still  in  the  same  state  as  in  C,  though  further 
research  will  probably  reveal  additional  distinctions  of  rework,  &c.  The  plates 
correspond  to  C  in  being  before  the  numbers  of  the  Paris  Catalogue  of  1800. 
Impressions  noted  in  the  Lansdowne  collection  in  the  Victoria  and  Albert  Museum 
have  watermark,  no.  7,  which  is  a  French  paper,  but  editions  may  also  have  been 
made  up  with  remainder  of  impressions  printed  at  Rome.  Both  the  S.K.  and 
Lansdowne  series  are  bound  with  bluish-green  marbled  paper  sides,  and  thick 
green  backs ;  the  binder's  label  being  in  each  case  Tessier,  of  Rue  de  la  Harpe, 
Paris.  The  same  binding  and  label  occur  in  a  set  of  this  first  Paris  edition  from 
Cassiobury,  lot  no.  161,  in  a  sale  at  Hodgson's,  a4th  May  1922  (purchased  by 
Messrs.  Myers  &  Co.,  59  High  Holbom,  W.C). 

S.K.    Lansdowne. 

E.  Intermediate  Paris  Editions  (between  1807  and  1835). 

With  fresh  numeration,  Arabic  numbers  neatly  engraved,  generally  in  upper  or 
lower  r.,  giving  running  nos.  1-68  for  vol.  i  and  1-69  for  vol.  ii,  corresponding  to 
the  printed  catalogue,  Paris  1800.  The  order  of  this  catalogue  differs  from  that 
of  179a  in  the  insertion  of  Francesco's  plate  originally  no.  137  as  no.  loi  {^^ 
in  vol.  ii)  so  that  nos.  loa  to  137  (i.e.  34-69  vol.  ii)  correspond  to  original  nos. 
101-136. 

Laid  paper. 

Watermark  no.  8. 

S.K.L. 

F.  Edition  of  Firmin-Didot,  Paris,  1835-9. 
Additional  running  numbers  683-831. 

The  plates  and  probably  the  remainder  of  the  edition  were  bought  from  Firmin- 
Didot  freres  by  the  Camera  Apostolica  in  1839,  and  transferred  to  the  Calcografia 
Camerale. 

The  set  in  the  B.M.  Library  with  Firmin-D  idot's  title-pages  (dated  1835-9) 
and  Italian  text,  was  presented  to  the  Museum  by  the  Papal  Government  in 
1865.  The  binding  bears  the  arms  of  Pope  Pius  IX  (Pope  1846-78),  and  many 
of  the  plates  bear  one  or  other  of  the  several  blind  stamps  used  by  the  Calcografia 
Camerale.     It  is  on  white  wove  paper,  and  in  very  large  folio  size. 

Modern  impressions  continued  to  be  printed  from  the  plates  by  the  Calco- 
grafia Camerale^  which  since  1870  has  been  the  Regia  Calcografia,  so  that  the 
difference  of  stamp  with  one  or  the  other  title  gives  some  rough  idea  of  the  date 
of  modern  impressions. 


34 


THE  'VIEWS  OF  ROME' 


9.     WATERMARKS. 

Key  to  the  Plate  of  VVatennarks 
with  references  to  the  preceding  section  on  states. 

1.  Generally  in  thinner  laid  paper  than  nos.  2  and  3.  Noted  in  early  states  before  Piranesi's 
address  and  price  [B  (i)]. 

2.  In  thick  laid  paper.    Noted  in  states  with  Bouchard's  address  [B  (2)]. 

3.  Generally  in  very  thick  laid  paper.  Noted  in  states  with  Bouchard's  address  [B  (2)], 
and  in  states  with  Piranesi's  address  and  price  [B  (3)]  and  contemporary  issues  of  plates 
which  never  bore  address  or  price.  The  custom  of  framing  marks  within  a  circle  appears  to 
have  been  chiefly  if  not  exclusively  Italian,  so  that  all  the  three  fleurs-de-lys  quoted  (nos.  I-3) 
almost  certainly  indicate  Italian  papers.  See  J.  Guiffrey  and  P.  Ma.rct\,Inveniaire  Giniral  des 
Dessins  du  Louvre,  i  (1907),  p.  132,  no.  30. 

4.  In  laid  paper.  Noted  in  a  few  impressions  of  state  B  (2),  and  in  Posthumous  Roman 
impressions  [C]. 

5.  In  laid  paper.     Noted  in  Posthumous  Roman  impressions  [C]. 

6.  In  laid  paper.    Noted  in  Posthumous  Roman  impression  [C]. 

7.  In  laid  paper.  Also  occurs  in  modified  and  larger  form,  without  the  mark  of  quality 
(Fin).  A  French  paper  (T.  Dupuy,  Auvergne),  noted  in  ist  Paris  edition,  1800-7  [D]. 
Similar  marks  (but  not  of  this  maker)  are  reproduced  in  J.  Guiffrey  and  P.  Marcel, 
Inventaire  Giniral  des  Dessins  du  Louvre,  icole  Franfaise,  vol.  i.  1907,  p.  134,  No.  25,  and 
vol.  ii,  1908,  pp.  130  ff..  No.  58,  67,  57,  68,  60,  48,  47.  Another  Dupuy  is  cited  in  M.  Cohendy, 
Notes  sur  la  Papeterie  d'' Auvergne,  M^moires  de  I'Acad^mie  de  Clermond-Ferrand,  1862, 
p.  197.  1742  does  not  denote  the  date  of  manufacture,  but  the  date  required  by  the  government 
as  indication  of  conformity  to  certain  regulations  of  1739  (see  J.  Guiffrey  and  P.  Marcel,  vol.  ii. 
p.  129,  No.  19). 

8.  In  laid  paper.     Intermediate  Paris  edition,  between  1807-183S  [E]. 


PLATE  I 


BK/\CCiAuo 


r- 


1 


i 


EEEIEBEE® 


WATERMARKS 


XOSJI-TJWaRA'ALit.AayC.E  "■'    'Si 


V 


ANTICHITA  ROMANE 

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.di  ti-tnt^  ^nstf~.     Sa'pr/i^B  di  tm^ue  Z^t-rAiii 


,=»'i*i. 


fHisies&r^^ 


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^Rc'i'ine  J'una  I'-t^ena  di  Statue  ne/ia 
fi//j  ,  idr-i^na  a  7i  f4'di  ■ 
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ntlla  ^udteia  I'lUa  .  _ 

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-  7)ei  jfce  Ji  Seltiniii>  Sfi'er,- . 
■   m-Altr-adil'am/^oZaci-tntt. 

^.iltr-a.  VeJuta  t/e//a Pia.t%a,  e 

Sa^iUca.  Vaticana  . 
.  IrJuta  interna  .^eUafl-Ln/u-a  JiS- 

j'lefre  in  I^ftr 'fifing  jUj  Tribnna 
.j!trar(,{uraJeilaPiaiiJiAf.mre 


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At  luicciata  * 

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t'  iWmc  •ufi  fJ^'iianff  dtUat'tJe- 

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.Altt'.i  di Pt.izz^ ,Vttf*tta ■ 
-DelTfi/i'iti  Jetto  t/e//a  Can^eraia- 

i.Aitra  dei  nifdesifrjo 

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-PWnt.Jinnaj;./.^.S^r^^^^ 

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.  Mrra  ye/ 7em/'ie-e/e//a /^te-e        .  tiAtM  Ata^JJUOi  ne^  fOUAA-ia^^ 

.  De^it  .jvunzt  deUe  Terate  til  Jffi'efe'ti^a^' 

.A7rr^fe^ata  Je/if  meUe^ime- 

.  lJe//j  Piai*^  Ji  S  Ouft-^nni  in  /^terun^. 

nytAmL'Aervni-i'uiwnotii^ifea^Sanat. 

M^nunttnt^  ,i'^  iJ.-fUfiZaudia/ Anient  nu*- 


Tianta  di  .F^mtt  t  dti  Ctvnjtm  JIfiirze 

a  ra^t,  yuindtei- 
C^'i'nnm  T^ttiana,  e  ^u* ^ieda^ta/feZ/nar^i 

at^f^wae  dt  ZeeeAini  rf". 

teiMnii  ti'eA:dr  d/Jf-tr/v  .Avr^'o  r^K /j  Jua 
J'uinai  .Taidi  a  r  r-*"- 


PIRANESI  S    ENGRAVED    CATALOGUE    OF   HIS    OWN    WORKS.       ABOUT    1 779 

FROM    AN    IMPRESSION    IN    THE    SOANE    MUSEUM 

SEE    P.    6,    EDITION    NO.     12 


INTRODUCTORY   NOTES 


35 


CLASSIFIED  LIST  OF  THE  'VIEWS  OF  ROME  ' 

from  the  Printed  Catalogue,  Rome  1792 

(See  p.  5,  above) 

with  Cross  References  to  numbers  in  the  present  Catalogue. 

Vol.  XXI.  Vues  de  Rome  in  fol.  faites  par  le  Chev.  Jean  Baptiste,  comme  cy  aprfes  k  deux 
Paules  &  demi  I'une  Scavoir :  toutte  la  collection  est  planches  137  pour  plus  grande  commodity 
des  amateurs,  on  a  marqud  en  chifre  k  la  fin  de  chaque  vu^  I'annde  qu'elle  €%.€  publi^e. 

£cus  34. 


Vol.  I. 

Number. 

Present 
Catalogue. 

I.  Frontispiece  del'  an  1748 

I 

I 

2.  Basiliq. 

I. 

Place  de  la  Basihque  de  S.  Pierre. 

1775 

2 

120 

II. 

Autre  de  la  Meme. 

1748 

3 

3 

III. 

Autre  de  la  Meme. 

1772 

4 

lOI 

IV. 

Int^rieure  de  cette  Basilique. 

1748 

5 

4 

V. 

Autre  interieure  de  la  meme,  pr^s  de  la 

Tribune. 

1773 

6 

102 

VI. 

Exterieure  de  la  meme. 

1748 

7 

5 

I. 

De  S.  Paul  hors  des  Murs. 

1748 

8 

6 

II. 

Interieure  de  la  meme. 

1749 

9 

7 

I. 

De  S.  Jean  Lateran. 

1749 

10 

8 

II. 

De  la  place  de  la  meme  Basil. 

1775 

II 

117 

III. 

De  rObelisque  Egyptien  sur  cette  place. 

1759 

12 

53 

IV. 

Interieure  de  la  meme  Basil. 

1768 

13 

88 

V. 

Grande  Facade  de  la  meme. 

I77S 

14 

122 

I. 

De  S.  Maria  Majeure. 

1749 

IS 

9 

II. 

Interieure  de  la  meme. 

1768 

16 

87 

III. 

Du  derriere  de  cette  Basil. 

1742 

17 

10 

De  S.  Croix  en  Jerusalem. 

1750 

18 

II 

De  S.  Laurens  hors  de  murs. 

1750 

19 

12 

De  S.  Sebastien,  hors  des  murs. 

1750 

20 

13 

3.  Eglise. 

De  S.  Costance. 

1756 

21 

37 

4.  Places. 

Du  Peuple. 

1750 

22 

14 

D'  Espagne. 

1750 

23 

18 

I. 

De  Monte  Cavallo. 

1750 

24 

15 

II. 

Autre  de  la  meme. 

1773 

25 

103 

De  la  Douane  de  Terre. 

1753 

26 

32 

De  la  Rotonde. 

1751 

27 

17 

I. 

Navone. 

1751 

28 

16 

II. 

Autre  de  la  meme. 

1773 

39 

108 

Des  deux  Eglises  pres  de  la  Colonne  Trajane 

.  1762 

30 

66 

De  la  Colonne  Trajane. 

1758 

31 

SI 

De  la  Colonne  Antonine. 

1758 

32 

52 

5.  Fontaines 

.  I. 

De  Trevi. 

1751 

33 

19 

11. 

Autre  de  la  meme. 

1773 

34 

104 

De  le  Eau  Felice. 

1751 

35 

20 

De  r  Eau  Paule. 

1751 

36 

21 

6.-  Palais. 

Famfese. 

1773 

37 

107 

De  la  Consulte. 

1729 

38 

22 

De  Monte  Citorio. 

1752 

39 

23 

De  r  Academie  de  France. 

1752 

40 

24 

Stoppani. 

1776 

41 

128 

Barberini. 

1729 

42 

25 

Da 


3« 


THE  'VIEWS  OF  ROME' 


{continued) . 


Vol.  I. 
Odescalchi. 

1753 

Numbers. 

Present 
Catalogue. 

43 

26 

7- 

Maison  dc  Campagne.     Albani. 

1769 

44 

89 

Pamfili. 

1776 

45 

124 

D'  Este  k  Tivoli. 

1773 

46 

los 

8. 

Aqueducs 

Du  Chateau  de  1'  Eau  Julia. 

1753 

47 

34 

De  Arcs  de  Neron  prfes  de  la  Scala  Santa. 

1775 

48 

1X8 

Monument  6ng6  par  Vespasien  des  Eaux 

Claudia  e  nouvelle  ancienne. 

I77S 

49 

119 

9- 

Port 

De  Ripetta. 

1773 

50 

28 

De  Ripa  Grande. 

1753 

51 

27 

10. 

Fonts. 

Pont  et  Chateau  S.  Ange. 

Mausoleum  Adriani :   a  present  Chateau 

I7S4 

52 

29 

S.  An?e 

I7S4 

53 

30 

Du  Ponte  MoUe,  ou  Pons  Milvius. 

1762 

54 

64 

Du  Ponte  Salaro. 

1754 

55 

31 

De  r  Isle  Tiberine. 

1775 

56 

121 

De  la  Cloaca  Massima  a  1'  endroit  ou  elle  se 

d&harge  dans  la  Riviere. 

1776 

57 

125 

II. 

Temples. 

De  Cybeld. 

1758 

58 

"^l 

De  la  Fortune  Virile. 

1758 

59 

46 

I.  De  Bacchus  aujourdhui  S.  Urbain. 

1758 

60 

48 

II.  Intdrieure  de  ce  Temple. 

1767 

61 

81 

Du  Dieu  Ridicule,  ou  de  la  Foi,  ou  des 

Camenes. 

1773 

62 

106 

De  la  Fontaine  Egerie. 

1766 

63 

80 

D.  Hercule  a  Cora. 

1769 

64 

91 

De  la  Sant^,  sur  le  chemin  d'  Albano. 

1763 

65 

71 

12. 

Portiques 

De  Domitien,  sur  le  chemin  de  Frascati. 

1766 

66 

7? 

I.  D' Octave. 

1760 

67 

58 

II.  Intdrieure  de  ce  Portique. 

1760 

68 

59 

XXII. 

Tom.  II. 

13- 

Frontespice. 

69 

2 

14. 

Panteon. 

I.  Facade. 

1761 

70 

60 

II.  Intdrieur  de  Pronaum  ou  Portique. 

1769 

71 

82 

III.  Int^rieur  de  Pantheon. 

1768 

72 

86 

IV.  Autre  de  meme. 

1768 

73 

136 

Temple  de  Minerva  Medicis. 

1764 

74 

74 

15- 

Capitole. 

I.  Avie  1'  Escalier  d'  Araceli. 

177S 

75 

38 

11.  De  la  Place  du  meme. 

1774 

76 

III 

III.  Vue  Laterale  du  mfime. 

1775 

77 

39 

16. 

Vue  Gfedrale.    De  Campo  Vaccine. 

1775 

78 

40 

17. 

Temples. 

De  Jupiter  Tenant. 

1756 

l^ 

44 

I.  De  la  Concorde. 

1774 

80 

109 

II.  Autre  du  meme. 

1774 

81 

no 

18. 

I.  Autre  du  Campo  Vaccino. 
II.  Autre    du    meme    avec    la    situation    de 

1772 

82 

100 

r  ancien  Forum  Romain. 

1756 

83 

41 

III.  Autre  de  meme  avec  I'ArcdeSeptime  Severe.  1759 

84 

54 

19- 

Temples 

D' Antonin  et  de  Faustine. 

1758 

85 

49 

I.  De  la  Paix. 

1757 

86 

45 

II.  Autre  du  mdme. 

1774 

87 

114 

Du  soleil  et  de  la  lune. 

1759 

88 

50 

INTRODUCTORY  NOTES 


37 


(continued) : 


<XU.                                    Tom.  II.     . 
Arcs  de  Triomphe.    De  Septime  Severe. 

1772 

Numbers. 

Present 
Catalogue. 

20. 

89 

99 

I.  DeTite. 

1760 

90 

55 

II.  Autre  de  meme. 

1771 

91 

9« 

De  Janus. 

1771 

92 

96 

De  Constantin. 

1771 

93 

97 

De  Trajan  h  Benevent. 

1778 

94 

135 

21. 

Forum. 

I.  De  Nerva. 
II.  Autre  de  meme  avec  les  restes  du  Temple 

1757 

95 

42 

de  Pallas. 

1770 

96 

95 

22. 

Colis^e. 

I.  Vue. 

1757 

97 

57 

II.  Autre  du  meme. 

1776 

98 

126 

III.  Vue  interieure  du  meme. 

1766 

99 

78 

IV.  Autre  avec  1'  Arc  de  Costantin. 

1760 

100 

56 

33- 

Theatre. 

De  Marcellus. 

1757 

loi 

33 

24. 

Curia. 

Hostilia. 

1757 

102 

43 

25- 

Thermes. 

I.  Antoniane. 

1765 

103 

76 

II.  Du  Xyste  de  ces  Termes. 

1765 

104 

77 

De  Diocletien. 

1774 

105 

115 

Int&ieur  de  1'  Eglise  de  la  Chartreuse. 

1776 

106 

129 

Autres  des  memes  Termes. 

1774 

107 

116 

I.  De  Tite. 

1775 

108 

123 

II.  Autre  des  memes. 

1776 

109 

127 

26. 

Tombeaux.  I.  De  C.  Cestius. 

1755 

110 

35 

II.  Autre  du  meme. 

1756 

III 

36 

De  Cicilia  Metella. 

1762 

112 

67 

Du   Pison   Licinianus  et  de  la  Famille. 

Cornelia.     Sur  la  voie  Appienne. 

1764 

113 

72 

Autre  appelle  la  Quenouille  hors  de  Capoue. 

1776 

114 

130 

27. 

Pont  Lugano,  sur  le  chemin  de  Tivoli. 

1763 

115 

68 

28. 

Torabeau  de  la  famille  Plautia. 

1 761 

n6 

83 

29. 

Temple. 

I.  De  la  Toux  sur  la  meme  voie. 

1763 

117 

69 

II.  Intfrieur  de  ce  Temple. 

1764 

118 

70 

30- 

Vues  de  Tivoli.  I.  De  la  Maison  de  Mecene. 

1763 

119 

65 

II.  Intfrieur  de  cette  Maison. 

1764 

120 

73 

III.  Autre  intlrieur  de  la  meme. 

1767 

121 

84 

I.  Du  Temple  de  la  Sybille. 

1761 

122 

61 

II.  Autre  du  meme. 

1761 

123 

62 

III.  Autre  du  meme. 

1761 

124 

63 

De  la  Cascade  de  Tivoli. 

1765 

125 

75 

Des  Cascatelles. 

1769 

126 

92 

De  la  Ville  Adrienne,  Ruines  du  Camp 

Pr^torien. 

1770 

127 

94 

D'une  salle  appartenante  au  meme  Camp. 

1744 

128 

112 

Place  d'  or. 

1776 

129 

132 

Helio  chemin. 

1777 

130 

133 

D'un  Diete. 

1777 

131 

134 

Logement  de  Soldats. 

1774 

132 

"3 

I.  Ruines  du  Temple  de  Canope. 

1769 

133 

90 

II.  Interieure  de  ce  Temple. 

1776 

134 

131 

Ruines  d'une  Galerie  de  Statues. 

1770 

135 

93 

Du  Temple  d'  Apollon. 

1768 

136 

85 

Autre  vue  de  1'  int^rieur  du  Colossi e,  vu  d'en 

haut,  en  1788  par  le  Chevalier  Franjois. 

1788 

137 

137 

'VIEWS   OF   ROME' 

I.  TITLE-PAGE.     i.     F.  719.  1748. 

Title  on  large  slab  of  stone  :    Vedute  di  Roma  disegnate  ed  incise  da  Giambattisla  Piranesi 
ArchiUtlo  Ve  .  .  ziano. 
[15^  X  2i|.]     Signed,  lower  r.  margin  :  Piranesi  tnu.  scol. 

I.  Before  address.  Soane,  Blomfield,  Charrington  (Magnificenze).  B.M.  Chats- 
worth.    Tubes. 

II.  Address:  Bouchard.     Davies. 

III.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  2j.  B.M.L.  B.M.L.,  KING'S. 
Tubes. 

IV.  Price  erased.    Soane.    Tuebs.    ist  Paris  Ed.    Intermed.  Paris  Ed. 

V.  Number  682  upper  r.     Ed.  Firmin-Didot,  Paris. 

a.  FRONTISPIECE,  WITH  STATUE  OF  MINERVA.  69.  F.  786.  [About  1748?] 
[19^  X  24^.]     Signed,  lower  r.  margin  :  Piranesi  inuenlS,  incise  in  Roma. 

I.  Before  address.  Before  added  work  on  corner  of  building  in  upper  r.  background  (e.  g.  the 
lowest  cornice  halfway  down  print  is  chiefly  shaded  with  vertical  lines).  SoANE,  Blomfield, 
Zv-KKKi^GTan  {Magnificenze).  B.M.  Chatsworth.  Davies.  Tuebs.  B.M.L.,  King's  (in 
two  pieces,  in  the  Opere  Varie). 

II.  Address  lower  1. margin:  Bouchard e  Gravier.     B.M.L.  fm  two  pieces,  in  the  Opere  Varie), 

III.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  2\.    B.M.L. 

IV.  Work  added  on  building  described  (e.g.  cross  lines  indicating  creeper  at  place  cited). 
B.M.L.,  King's. 

V.  Price  erased.    Soane.    From  this  state  onwards  as  frontispiece  of  Vol.  II.     1st  Paris  Ed. 

VI.  Number  I  upper  r.    Intermed.  Paris  Ed. 

VII.  Number  753  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

Used  in  posthumous  editions  as  frontispiece  to  Volume  II.  This  subject  was  also  used 
in  two  pieces  (making  single  upright  folios)  printed  from  the  masked  plate,  in  editions  of 
the  Opere  Varie  di  Archiletlura. 

3.  ST.  PETER'S,  WITH  FORECOURT  AND  COLONNADES.  FOUNTAIN  IN 
FOREGROUND.     3.     F.  787.  1748. 

Title :   Veduta  delta  Basilica,  e  Piazza  de  S.  Pietro  in  Vaticano. 
[i  5|  X  3 1\?\     Signed,  lower  r.  margin  :  Piranesi  del.  scol. 

I.  Before  address.  Before  strengthening  of  shading  (e.g.  end  of  portico  r.  and  1.  corners  of 
house  in  extreme  r.  foreground  in  same  tone  as  the  rest).  Soane,  Blomfield,  Charrington 
(Magnificenze).     B.M.     CHATSWORTH.    TUBBS. 

II.  Shading  on  the  house  greatly  strengthened  :  triangle  of  light  on  ground  to  L  of  r.  wheel 
of  chariot,  second  from  1.,  flattened  by  added  lines  of  shading,  making  a  continuous  line 
of  light  behind  the  three  men  in  the  foreground.    TUBBS. 


CATALOGUE  39 

III.  Address:  Bouchard e  Gravier.    Davies. 

IV.  Address    and    price :    Autore,    Palazzo   Tomati.  Paoli  z\.      B.M.L.      B.M.L.,  King's. 
Tubes. 

V.  Price  erased.    B.M.    Soane.    Tubes,    ist  Paris  Ed. 

VI.  Number  3  upper  r.  margin.    Intermed.  Paris  Ed. 

VII.  Additional  number  687  upper  r.    Ed.  Firmin-Didot,  Paris. 

4.  ST.  PETER'S,  INTERIOR  WITH  THE  NAVE.  5.  F.  788.  1748. 
Title  :   Veduta  interna  delta  Basilica  di  S.  Pietro  in  Vaiicano. 

[16  X  23^.]     Signed,  1.  margin  :  Piranesi  fecit. 

I.  Before  Address.    Soane,  Blomfield,  Charrington  {Magnificenze).    B.M.    Tubes. 

II.  Address:  Bouchard e  Gravier.    Davies. 

Wl.  PAAxi.%%^nA'^r\c^:  Autore,  Palazzo  Tomati.  Paoli i\.  B.M.  B.M.L  B.M.L.,  King's. 
Tubes. 

IV.  Price  erased.    Soane.    Tubes,    ist  Paris  Ed. 

V.  Number  5  lower  r.  margin.    Intermed.  Paris  Ed. 

VI.  Additional  number  689  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

5.  ST.  PETER'S,  FROM  THE  PIAZZA  DELLA  SAGRESTIA.  7.  F.  789.  1748. 
Title  :   Veduta  dell'  Esterno  della  gran  Basilica  di  S.  Pietro  in  VaticanoS 

[15I X  23|.]     Signed,  r.  margin :  Piranesi  Architetto  fee. 

I.  Before  address.  The  garden  wall  extreme  r.  is  shaded  only  with  verticals.  SoANE, 
Blomfield,  Charrington  {Magnificenze).    B.M.    Tubes. 

II.  Address:  Bouchard e  Gravier.    Davies. 

III.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  i\.    B.M.L. 

IV.  Irregular  series  of  horizontal  lines  added  on  shading  of  wall.    B.M.L.,  King's.    Tubes. 

V.  Price  erased.    Soane.    Tubes,    ist  Paris  Ed. 

VI.  Number  7  upper  r.    Intermed.  Paris  Ed. 

VII.  Additional  number  691  upper  r.    Ed,  Firmin-Didot,  Paris. 

6.  S.  PAOLO  FUORI  LE  MURA  8.  F.  733.  1748. 
Title :    Veduta  della  Basilica  di  S.  Paolo fitor  delle  mura- 

[l5iX24|.] 

I.  Before  address,  signed,  lower  I. :  Piranesi  F.  Reference  no.  5  is  i^mm.  from  cornice  of 
architecture.    Tubes. 

II.  Address  :  Bouchard  e  Gravier.    Davies. 

III.  Address  and  price  :  Autore,  Palazzo  Tomati.  Paoli  aj.    B.M.L. 

IV.  Signature  lower  1.  and  address  and  price  erased.  Now  signed  Piranesi  F.  lower  r.  margin 
(where  price  had  stood).  Reference  no.  5  is  now  15  mm.  from  cornice.  B.M.  B.M.L.,  King's. 
Tubes. 

V.  Numbers  2.  I.  and  8.  II.  added  lower  r.  margin.     Soane.    Tubes.    1st  Paris  Ed. 

V.  Another  8  added  lower  r.  margin.    Intermed.  Paris  Ed. 

VI.  Additional  number  692  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 


40  THE   'VIEWS   OF   ROME' 

7.  S.  PAOLO  FUORI  LE  MURA.  INTERIOR.  9.  F.  792.  1749. 
Title  :  Spaccalo  interno  della  Basilica  di  S.  Paolo  fuori  dtlk  mura. 

[16J  X  24.]     Signed,  lower  r.  margin  ;  Piratusi fecit. 

I.  Before  address  :  Soane,  Blom  FIELD,  Charrington  (Magnificenxe).    B.M.    TUBBS. 

II.  Address:  Bouchard e  Gravier.     Davies. 

III.  Address  and  price:  Autore,  Palazso  Tomati.  PaoH  i\.  B.M.L.  B.M.L.,  KING'S. 
Tubes. 

IV.  Price  erased.    B.M. 

V.  Numbers  2  II  lower  r.  margin,  and  9  lower  r.  (1.  of  signature).  Soane.  Tubbs.  1st 
Paris  Ed. 

VI.  Additional  number  9  upper  r.  margin.     Intermed.  Paris  Ed. 

VII.  Number  693  added  upper  r.    Ed.  Firmin-Didot,  Paris. 

8.  S.  GIOVANNI  IN  LATERANO,  MAIN  FACADE,  WITH  PALACE  AND  SCALA 
SANTA  ON  THE  RIGHT.  10.  F.  790.  1749. 
Title :   Vtduta  della  Basilica  di  S.  Giovanni  Laterano. 

[15JX  21^.]     Signed,  lower  r.  margin  :  Piranesi  del.  Scol. 

I.  Before  address.  Less  work  in  sky,  and  on  balustrade,  foreground  1.  Soane,  Blomfield, 
Charrington  (Magnificenze).    B.M.    Chatsworth.    Tubes. 

II.  Address:  Bouchard.  Added  work  darkening  clouds  in  sky,  and  darkening  the  balustrade. 
Davies. 

III.  Address  and  price:  Autore,  Palazzo  Tomati.  PaoH  2^.  B.M.  B.M.L.  B.M.L.,  King's. 
Tubes. 

IV.  Price  erased.    Soane.    ist  Paris  Ed. 

V.  Numbers  10  lower  r.  margin  694  upper  r.    Intermed.  Paris  Ed. 

VI.  Number  694  added  upper  r.    Ed.  Firmin-Didot,  Paris. 

9.  S.  MARIA  MAGGIORE  WITH  THE  COLUMN  FROM  THE  BASILICA  OF 
CONSTANTINE  IN  THE  FOREGROUND.  15.  F.  791.  1749. 
Title  :  Veduta  della  Basilica  di  6''"  Maria  Maggiore  con  le  due  Fabbriche  laterali  di  delta 
Basilica. 

[15I X  2i|.]     Signed,  lower  r.  margin :  IHranesi  del.  Scol. 

I.  Before  address.  Before  added  work  in  sky.  Foreground  lightly  bitten.  The  face  of 
smaller  fountain  at  front  of  base  of  column  shaded  in  regular  horizontals  with  a  piece  of  darker 
shading  1.  Soane,  Blomfield,  Charrington  {Magnificenze).  B.M.  Chatsworth. 
Tubes. 

II.  Address:  Bouchard  e  Gravier.  Added  work  in  sky.  Foreground  darker.  Two  series 
of  short  horizontal  lines  added  face  of  fountain,  making  two  vertical  streaks  of  shadow. 
Davies. 

III.  Addxtss  and  prict:  Autore,  Palazzo  Tomati.  Paoli  2^.  B.M.  B.M.L.  B.M.L.,  King's. 
Tubes. 

IV.  Price  erased.    B.M.    Soane.    Tubes,    ist  Paris  Ed. 

V.  Number  15  lower  r.  margin.     Intermed.  Paris  Ed. 

VI.  Number  699  added  r.  towards  the  top.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  •  41 

10.  S.  MARIA  MAGGIORE  WITH  THE  OBELISK  IN  THE  PIAZZA  DELL' 
ESQUILINO.  17.  F.  727.  1742  (misprint  or  error  for  1749?). 
Title  :    Veduia  della  Facciata  di  dietro  della  Basilica  di  S.  Maria  Maggiore. 

[i5|x  24|.]     Signed,  lower  r.  margin:  Giov.  Baltista  Piranesi  Archiietto  dis.  ed inc. 

I.  Address:  Bouchard e  Gravier.    Davies. 

11.  Address  and  price:  Autore,  Strada  Felice.  Paoli  zj.  B.M.  B.M.L.  B.M.L.,  King's. 
SOANE  (with  2.  III.  added  in  manuscript).    TUBBS. 

III.  Price  erased.    Tubbs.    ist  Paris  Ed. 

IV.  Number  17  lower  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  701  added  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

II.  S.  CROCE  IN  GERUSALEMME.  18.  F.  729.  1750. 
Title :    Veduia  della  Facciata  della  Basilica  di  S.  Croce  in  Gerusalenime. 

[15I X  24.]     Signed,  lower  r.  margin  :  Giovafi  Battista  Piranesi  Archiietto  dis.  ed  inc. 

I.  Address:  Bouchard e  Gravier.    Davies. 

U.  Address  and  pnct :  Autore,  Palazzo  Tomaii.  Paoli  2^.    B.M.    B.M.L.    B.M.L.,  King's. 

SOANE.    Tubes. 

III.  More  heavily  bitten,  e.g.  much  darker  patches  of  shadow  lower  1.  foreground,  and 
irregularities  in  wall  near  r.  margin.    Tubes. 

IV.  Price  erased,    ist  Paris  Ed. 

V.  Number  18  lower  r.  margin.    Intermed.  Paris  Ed. 

VI.  Number  702  added  upper  r.    Ed.  Firmin-Didot,  Paris. 

12.  S.  LORENZA  FUORI  LE  MURA.  19.  F.  730.  1750. 
Title  on  scroll  in  centre  below  :    Veduta  della  Basilica  di  S.  Lorenzo  fuor  delle  mura, 

[14I X  25|.]     Signed,  to  r.  of  scroll :  Piranesi  F. 

I.  Before  address.    Davies.    B.M.L. 

II.  Address  and  price  :  Autore,  Paoli  2j.     B.M.     B.M.L.,  KING'S.     SOANE.     TUBES. 

III.  Price  erased.    B.M.    Tubes,    ist  Paris  Ed. 

IV.  Number  19  on  scroll  r.    Intermed.  Paris  Ed. 

V.  Number  703  upper  r.    Ed.  Firmin-Didot,  Paris. 

13.  S.  SEBASTIANO.  20.  F.  731.  1750. 
Title  in  cartouche  lower  1.:  Veduta  della  Basilica  di  S-  Sehastiano  fuor i  delle  mura  di  Roma, 
su  la  via  Appia. 

[i6f  X  26.]     Signed,  in  centre  of  subject  below  :  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes. 

II.  Numbers  20  in  cartouche,  II  towards  r.    Tubes.    1st  Paris  Ed. 

III.  Additional  number  20  upper  r.     Intermed.  Paris  Ed. 

IV.  Number  704  added  upper  r.    Ed.  Firmin-Didot,  Paris. 

14.  THE  PIAZZA  DEL  POPOLO.     22.    F.  794.  1750. 

Title  :    Veduia  della  Piazza  del  Popolo. 
[15I X  2  if.]     No  signature. 

1.  Before  address.  Soane,  Blomfield,  Charrington  (Magnificenge).  B.M,  Chats- 
woRTH.    Tubes. 


43  THE  'VIEWS   OF  ROME' 

II.  Address :  Bouchard  e  Gravier.    The  foreground  1.  more  heavily  bitten.    Davies. 

III.  Address  and  price:  Autore,  Strada  Felice.  Paoli  2j.    B.M.L.     B.M.L.,  King's.    Tubbs. 

IV.  Price  erased.    B.M,    Soane. 

V.  Number  4  lower  r.    Tubes.    1st  Paris  Ed. 

VI.  Number  22  upper  r.  margin.    Intermed.  Paris  Ed. 

VII.  Number  706  towards  upper  r.     Ed.  Firmin-Didot,  Paris. 

15.  THE  PIAZZA  DEL  QUIRINALE,  WITH  THE  STATUES  OF  THE  HORSE 
TAMERS  IN  SIDE  VIEW.  24.  F.  808.  1750. 
Title :    Veduta  della  Piazza  di  Monte  Cavallo, 

[ 1 5j  X  2  if.]     Signed,  in  lower  r.  margin :  Piranesi  del.  el  sculp. 

I.  Before  address.  Before  lettering  on  bases  of  the  statues.  SoANE,  Blomfield,  Char- 
RiNGTON  {Magnificenze).    B.M.    Chatsworth.    Tubbs. 

II.  Address:  Bouchard.  Inscriptions  Opus  Phidiae  and  Opus  Praxi  added  on  bases  of  the 
statues.    Davies. 

III.  Address  and  price  :  Autore,  Strada  Felice.  Paoli  2^.    B.M.L. 

IV.  More  deeply  bitten,  e.  g.  the  1.  face  of  base  of  front  Horse  Tamer,  which  was  of  one  tone, 
now  shows  stronger  pieces  of  shadow  beneath  the  cornice,  and  shadow  from  the  creeper 
hanging  over  the  cornice.  B.M.  B.M.L.,  King's.  Tubbs.  Soane  (with  4  I  added  in 
manuscript). 

V.  Price  erased.    Numbers  24  lower  r.  margin,    ist.  Paris  Ed.     Intermed.  Paris  Ed. 

VI.  Number  708  upper  r.    Ed.  Firmin-Didot,  Paris. 

16.  THE  PIAZZA  NAVONA,  WITH  S.  AGNESE  ON  THE  RIGHT.  28. 
F.  806.  1751. 

Title :    Veduta  di  Piazza  Navona  sopra  le  rovine  del  Circa  Agonale. 

[i6X2i-J.]     Signed,  lower  r.  margin  :  /•?>•«««;■  (/,»/.  jr.  (from  State  II  onwards), 

I.  Before  all  lettering.    Chatsworth. 

II.  Lettering  and  signature  added  but  before  address.  SOANE,  BLOMFIELD,  Charrington 
(Magnificenze).     B.M.     CHATSWORTH.    Tubbs. 

III.  Address:  Bouchard  e  Gravier.  Added  lines  of  shading  on  1.  (e.g.  series  of  lighter  lines 
between  the  main  lines  of  shading  on  the  ground  in  shadow  of  buildings  1.).    Davies. 

IV.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  2J.  B.M.L.  B.M.L.,  King's. 
Tubbs  (one  impression  with  4  I  added  in  manuscript). 

V.  Price  erased.    B.M.     Soane  (with  4  I  added  in  manuscript),    ist  Paris  Ed. 

VI.  Number  28  lower  r.  margin.    Intermed.  Paris  Ed.    Ed.  Firmin-Didot,  Paris. 

The  plate  is  7 1 2  in  the  Ed.  Firmin-Didot,  but  the  number  does  not  appear  on  the 
plate. 

17.  THE  PIAZZA  DELLA  ROTONDA,  WITH  THE  PANTHEON  AND  OBELISK. 
27.  F.  796.  I76I- 
Title  :   Veduta  della  Piazza  della  Rolonda, 

[16  X  2  if.]     Signed,  lower  r.  margin  :  Piranesi  del.  sc. 

I.  Before  address.  Soane,  Blomfield,  Charrington  {Magnificenze).  B.M.  Chats- 
worth.   Tubbs. 

II.  Address:  Bouchard e  Gravier.    Davies. 

III.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  2J.    B.M.L. 


CATALOGUE  43 

IV.  Shading  strengthened,  e.g.  adding  variety  in  ground  lower  1.  foreground.  Also  dannage 
to  plate,  making  a  blot  like  a  horizontal  rift  in  roof  towards  r.  of  shed  in  foreground.  B.M.L., 
King's.    Soane  (with  4  added  on  manuscript).    Tubbs. 

V.  Price  erased.    B.M.  Tubes,    ist  Paris  Ed. 

VI.  Number  27  lower  r.  margin.     Inteimed.  Paris  Ed. 

VII.  Number  711  upper  r.    Ed.  Firmin-Didot,  Paris. 

18.  THE  PIAZZA  DI  SPAGNA.  23.  F.  79  1750. 
Title  :    Veduta  di  Piazza  di  Spagna. 

[15^  X  23|.]     Signed,  lower  r.  margin  :  Piranesi  Architetto  fee . 

I.  Before  address.  The  lines  of  shading  on  ground  along  lower  border  are  of  one  regular  tone. 
The  r.  face  of  gallery  on  roof  of  house  1.  of  steps  shaded  by  dots  or  flecks  only.  Soane, 
Blomfield,  Charrington  (Magnijicense).    Tubes. 

II.  The  lines  of  shading  along  lower  border  rebitten,  adding  strips  of  dark  shadow,  and 
triangular  piece  of  shadow  to  r.  of  the  two  gentlemen  conversing  near  1.  comer  of  plate. 
B.M.    Tubes. 

III.  Address :  Bouchard  e  Gravier.  Vertical  lines  of  shading  added  between  the  dots,  and 
darker  shading  beneath  the  eaves  of  house  described.    Davies. 

IV.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  z\.  B.M.L.  B.M.L.,  King's. 
Tubes. 

V.  Price  erased.    B.M. 

VI.  Numbers,  23  (centre),  IV  (r.)  added  in  margin.    SOANE.    Tubbs.    Ist  Paris  Ed. 

VII.  Additional  number  23  upper  r.    Intermed.  Paris  Ed. 

VIII.  Number  707  upper  r.    Ed.  Firmin-Didot,  Paris. 

19.  THE  FONTANA  DI  TREVI.  Side  View.  33.  F.  797.  1751. 
Title  :    Vedula  della  vasta  Fontana  di  Trevi  aniicamenk  detla  tAcqua  Vergine. 

[15!  X  21^.]     Signed,  lower  r.  margin  :  Piranesi  del.  scalp. 

I.  Before  address.  The  statue  of  Neptune  in  central  niche  has  his  arms  at  his  side ;  the  statue 
in  front  niche  (left  facing  the  fountain)  is  a  male  figure  with  r.  arm  extended.  SOANE, 
Blomfield,  Charrington  {Magnificenze).    B.M.    Chatsworth.    Tubes. 

II.  Address :  Bouchard.  Added  lines  of  shading  near  wheels  of  the  carriage  1.,  and  in  several 
places  along  foreground.  Patch  of  cloud  near  upper  r.  somewhat  darkened  with  a  few  added 
lines  giving  irregular  emphasis  to  shadows.    Davies. 

III.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli 2\.  The  statue  of  Neptune  now  has 
his  r.  arm  extended ;  the  statue  in  front  niche  is  changed  into  a  female  figure  of  Plenty  with 
1.  arm  crossing  body,  and  holding  cornucopia ;  the  horses'  wings  drawn  with  more  character. 
B.M.L.    B.M.L.,  King's.    Tubes. 

IV.  Rebiting  and  added  lines  (e.  g.  a  triangle  of  dark  shadow  on  ground  between  the  man 
leaning  over  basket  and  the  two  monks  in  foreground  towards  r.).    Tubes.    Soane. 

V.  Price  erased,     ist  Paris  Ed. 

VI.  Number  33  upper  r.    Intermed.  Paris  Ed. 

VII.  Number  717  upper  r.    Ed.  Firmin-Didot,  Paris. 

An  original  letter  by  G.  B.  Piranesi  to  Robert  Myine,  dated  11  Nov.  1760,  preserved 
in  the  Library  of   the  Royal  Institute   of  British  Architects,'   speaks    of   the  statues 

*  See  Rudolf  Dircks,  The  Library  and  Collection  of  the  R.I.B.A.    Journal  of  the  R.I.B.A., 
December  4,  1920. 


44  THE  'VIEWS  OF  ROME' 

and  bas-reliefs  of  the  Fountain  being  at  the  time  in  the  course  of  execution,  and  the  third 
state  of  the  etching,  which  was  probably  issued  soon  after  that  date,  shows  the  monument 
with  statues  as  they  now  appear.  Piranesi's  small  etching  of  the  fountain  in  the  Varie 
Vedule  of  1748  shows  the  side  niches  vacant.  Then  we  have  the  first  state  of  the  present 
etching,  but  I  have  been  unable  to  find  out  whether  this  shows  the  statues  as  they  appeared 
in  1751,  or  whether  Piranesi's  design  was  based  on  models  never  carried  out,  or  altered 
about  1760.  Nicolb  Salvi  was  engaged  on  the  erection  of  the  monument  between  1735 
and  1762,'  the  statue  of  Neptune  being  by  Pietro  Bracci. 

20.  THE  FONTANA  DELL' ACQUA  FELICE.  35.  F.  735.  1751. 
Title  in  scroll  in  centre  below :    Veduta  del  Castello  deW  Acqua  Felice. 

[iSi  X  26|.]     Signed,  in  work  lower  r. :  Piranesi  F. 

I.  Before  address.    Davies. 

II.  Address  and  price:  /i«/<7r^. /'a«)/2  2j.    B.M.     B.M.L.    B.M.L.,  KING'S.    TUBBS. 

III.  Price  erased.    Soane.    Tubes,     ist  Paris  Ed. 

IV.  Numbers,  35  upper  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  719  upper  r.    Ed.  Firmin-Didot,  Paris. 

21.  THE  FONTANA  DELL' ACQUA  PAOLA.  36.  F.  736.  1751. 
Title  on  scroll  lower  1. :   Veduta  del  Castello  deW  Acqua  Paola  stil  Monte  Aureo. 

[i 5|  X  24|.]     Signed,  lower  1.  of  scroll :  G.  B.  Piranesi  Architelto. 

I.  Address:  Bouchard e  Gravier.    Davies. 

II.  Address  and  price:  Autore,  strada  Felice.  Paoli  z\.  B.M.  B.M.L.  B.M.L.,  King's. 
Soane.    Tubbs. 

III.  Price  erased.    B.M.    Tubes.    1st  Paris  Ed. 

IV.  Number  36  upper  r.    Intermed.  Paris  Ed. 

V.  Number  720  upper  r.     Ed.  Firmin-Didot,  Paris. 

22.  THE  PALAZZO  DELL  A  CON  SULTA.  38.  F.  737.  1729(1749?) 
Title  :  Veduta  del  Palazzo  /abbricato  sul  Quirinale  per  le  Segreterie  de  Brevi  e  della  Sacra 
Consulta. 

[15I  X  24|.]     Signed,  lower  r.  margin  :  Gio.  Battista  Piranesi  Architetto  dis.  e  incise. 

I.  Address :  Bouchard  e  Gravier.    Davies. 

II.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  2\.  B.M.  B.M.L.  B.M.L.,  KING'S. 
Tubes. 

III.  Added  work  in  sky  (dark  horizontals  near  upper  border).    B.M. 

IV.  Price  erased.    Soane.    Tubes.    1st  Paris  Ed. 

V.  Number  38  lower  r.  margin.    Intermed.  Paris  Ed. 

VI.  Number  722  towards  r.  above.    Ed.  Firmin-Didot,  Paris. 

Now  the  Ministry  of  Foreign  Affairs. 

'  For  notes  on  the  Fountain,  and  on  studies  for  it,  see  Hermann  V oss,  JahriucA  der  Preuss. 
Kunstsammlungen  xxxi,  p.  124. 


CATALOGUE  45 

23.  THE  PALAZZO  DI  MONTE  CITORIO.  39.  F.  738.  1752. 
Title  :  Veduta  della  gran  Curia  Innocenziana  edificata  sulk  r ovine  dell'  Anfiteatro  di  Statilin 
Tatiro,  cheformano  todierno  Monte  Citorio. 

[15I X  24|-.]     Signed,  lower  1. :  Piranesi  F. 

I.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  i\.  B.M.  B.M.L.  B.M.L.,  King'?. 
SoANE.    Davies.    Tubes. 

II.  Price  erased.     1st  Paris  Ed. 

III.  Number  39  upper  r.     Intermed.  Paris  Ed. 

IV.  Number  723  added  towards  upper  r.    Ed.  Firrain-Didot,  Paris. 

Now  the  Chamber  of  Deputies. 

24.  THE  PALAZZO  DELL'  ACCADEMIA  DI  FRAN  CIA  (THE  PALAZZO 
SALVIATI).  40.  F,  739.  1752 
Title  :  Vedtita,  nella  Via  del  Corso,  del  Palazzo  delt  Accademia  isliluila  da  Lutgi  XIII,  Re 
di  Francia. 

[15!  X  2  4  J.]     Signed,  lower  r. :  Gio.  Batla.  Piranesi  Architetlo  dis.  e  inc. 

I.  Address:  Bouchard e  Gravier.    Davies. 

II.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  i\.  B.M.  B.M.L.  B.M.L.,  KING'S. 
Tubes. 

III.  Price  erased.  Heavy  rebiting  (e.g.  the  glass  of  window  1.  shows  much  darker  against  the 
bars).    SoANE.    Tubes,    ist  Paris  Ed. 

IV.  Number  40  lower  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  724  upper  r.    Ed.  Firmin-Didot,  Paris. 

The  Palazzo  Salviati  was  occupied  by  the  French  Academy  of  Art  between  1725  and  1800. 

25.  THE  PALAZZO  BARBERINI.  42.  F.  740.  1729  (misprint  for  1749?) 
Title  :  Veduta  ml  Monte  Quirinale  del  Palazzo  delt  Eccellentissima  Casa  Barberini.  Archi- 
tettura  del  Cav'^  Bernino. 

[i5|x  24|-.]     Signed,  lower  1. :  Piranesi fece. 

I.  Before  address.     DAVIES. 

II.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  i\.  B.M.  B.M.L.  B.M.L.,  King's. 
Tubes. 

III.  Price  erased.    More  heavily  bitten.    Soane.     ist  Paris  Ed. 

IV.  Number  42  upper  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  726  upper  r.    Ed.  Firmin-Didot,  Paris. 

26.  THE  PALAZZO  ODESCALCHI.     43.     F.  741.  1753. 

Title  :    Veduta  del  Palazzo  Odescalchi. 

[15I X  24|.]     Signed,  lower  r. :  Gio.  Bait.  Piranesi  Arch.  F. 

I.  Address :  Bouchard  e  Gravier.    Davies. 

II.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  2J.  B.M.  B.M.L.  B.M.L.  King's, 
Tubes. 

III.  Price  erased.    Numbered  6  lower  r.  margin.    Soane.     Tubes.     1st  Paris  Ed. 

IV.  Number  43  upper  r.    Intermed.  Paris  Ed. 

V.  Number  727  added  upper  r.    Ed.  Firmin-Didot,  Paris. 


46  THE  'VIEWS  OF  ROME' 

37.  THE    HARBOUR    AND    QUAY,    CALLED    THE    RIPA    GRANDE.      51. 

F-  742-  1753 

Title :    Vedula  del  Porto  di  Ripa  Grande. 

[15I X  24|-]     Signed,  lower  r. :   G.  B.  Piratusi  ArchUetto  fee. 

I.  Address :  Bouchard  t  Gravier.    With  barge  in  centre  of  canal  loaded  high  with  timber,  and 
•with  its  mast  crossing  the  building  numbered  i.    Davies. 

II.  Address  and  price  :  Autore,  Palazzo  Tomati.  Paoli  2\.    B.M.L.    TuBBS. 

III.  The  barge  cited  removed  from  the  plate,  leaving  a  large  space  of  open  water.    B.M. 
B.M.L.,  King's.    Soane.    Tubes. 

IV.  Price  erased.    TUBBS.     1st  Paris  Ed. 

V.  Number  51  lower  r.  margin.     Intermed.  Paris  Ed. 

VI.  Number  735  towards  r.  above.    Ed.  Firmin-Didot,  Paris. 

88.  THE   S.MALLER    HARBOUR,  CALLED  THE   PORTO  DI  RIPETTA.     50. 
F.  814.  1753. 

Title  :   Vedula  del  Porto  di  Ripetta. 
[i5-Jx  23f.]     Signed,  lower  r. :  Piranesi  ArchUetto  fee. 

I.  Before  address.    Soane,  Blomfield,  Charrington  (Magnificenze).    B.M.    Tubes. 

II.  Lines  of  shading  added  to  give  reflections  beneath  large  boat  with  barrels  in  foreground. 
Tubes. 

III.  Address:  Bouchard e  Gravier.    Davies. 

IV.  Address  and  price  :  Autore,  Palazzo  Tomati.  Paoli  2J.    B.M.L.   B.M.L.,  King's.   Tubbs. 

V.  Price  erased.    Soane  (with  9  added  in  MS.  lower  r.  margin). 

VI.  Numbers,  50  lower  r.,  IX  lower  1.    Tubes,     ist  Paris  Ed. 

VII.  Additional  number  50  upper  r.     Intermed.  Paris  Ed. 

VIII.  Number  734  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

No  longer  in  existence,  part  of  the  site  being  taken  up  by  the  Ponte  Cavour. 

ag.  THE  PONTE  AND  CASTEL  S.  ANGELO.     52.    F,  793.  1754. 

Title :   Vedula  del  Ponte  e  Castello  Sant'  Angela. 

[14^  X  22^']     Signed,  lower  r. :  Piranesi  ArchUetto  fee. 

I.  Before  address.    Soane,  Blomfield,  Charrington  {Magnificenze).    B.M.  Tubes. 

II.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  2\.    B.M.L.    Davies. 

III.  Rebiting  on  shadows  in  foreground  and  on  house  foreground  1.  (e.g.  strong  lines  of  shadow 
beneath  the  eaves).    B.M.L.  King's.    Tubes. 

IV.  Price  erased.    SoANE.    Tubes.     1st  Paris  Ed. 

V.  Number  52  upper  r.     Intermed.  Paris  Ed. 

VI.  Number  736  upper  r.    Ed.  Firmin-Didot,  Paris. 

30.  THE  CASTEL  S.  ANGELO.     53.    F.  743.  1754. 

Title:    Veduia  del  Mausoleo  cC  Elio  Adriano  {era  chiamaio  Castello  S.  Angela)  ntlla  parte 
opposta  alia  Facciata  denlro  al  Castello. 
[17J  X  21^.]     Signed,  lower  r. :  Piranesi  Arehit.  dis.  et  inc. 

I.  Address  and  price  towards  1. :   Autore,  Strada  Felice.  Paoli  zj.     B.M.    B.M.L.    B.M.L., 
King's.    Davies.    Tubes. 


CATALOGUE  47 

II.  Price  erased.    B.M.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  53  lower  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  737  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

31.  THE  PONTE  SALARIO.    55     F.  744.  1754. 

Title  as  above. 

[15^x24 J.]     Signed,  lower  r. :  Gio.  BaUa.  Piranesi  F, 

I.  Address:  Bouchard e  Gravier.    Davies. 

II.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  z\.    B.M.    B.M.L.    B.M.L.,  King's 
Soane.    Tubes. 

III.  Price  erased.    B.M.     I st  Paris  Ed. 

IV.  Number  55  lower  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  739  in  centre  towards  r.     Ed.  Firmin-Didot.    Paris. 

No  longer  exists  in  this  form.     It  was  blown  up  in  1867. 

3a.  THE   HADRIANEUM   (ONCE  USED   AS   A   CUSTOM    HOUSE)  IN    THE 

PIAZZA  DI  PIETRA.     26.    F.  821.  i753- 

Title  on  separate  plate  :    Veduta  della  Dogana  di  Terra  a  Piazza  di  Pietra. 

[Subject  plate  i5^X  23^;  Title  plate  i|x  23I.]     Signed,  r.  of  title  plate:  Piranesi  Archi- 

ietto/ec. 

I.  Before  address.    Soane  (Magnificenze).    B.M.    TUBES. 

II.  Address:  Bouchard  e  Gravier.    Added  work  darkening  the  sky:  also  creeper  added  on 
roof  and  side  of  house  1.    Davies. 

III.  Additssa.nd  price :  Auiore,Pa/azzo  Tomati.  Pao/i2l.   B.M.L.   B.M. L.,  King's.   Tubes. 

IV.  Price  erased.    B.M.    SoANE.    ist  Paris  Ed. 

V.  Number  26  upper  r.  margin.    Intermed.  Paris  Ed. 

VI.  Number  710  towards  upper  r. ;  T.  xvi.  T.  710  lower  r.  of  title  plate.    Ed.  Firmin-Didot. 
Paris. 

Now  the  Bourse. 

33.  THE  THEATRE  OF  MARCELLUS.     loi.    F.  818.  1757 
Title  :  Teairo  di  Marcello. 

[15I X  2 1^.]     Signed,  lower  r. :  Piranesi  Architeito fee. 

I.  Before  address.    Soane,  Blomfield,  Charrington  (Magnificenze).    B.M.    Tubes. 

II.  Address:  Bouchard e  Gravier.    Davies. 

\\l.  AAArtss&ndprict:  Autore,  Palazzo  Tomati.  Paoli2\.    B.M.    B.M.L.     B.M.L.,  King's. 
Tubes. 

IV.  Rebiting  in  foreground  adding  triangle  of  shadow  behind  the  man  leaning  forward  in  centre 
foreground.    Soane. 

V.  Price  erased.    B.M.    Tubes,     ist  Paris  Ed. 

VI.  Number  34  upper  r.    Intermed.  Paris  Ed. 

VII.  Number  786  upper  r.    Ed.  Firmin-Didot,  Paris. 

34.  THE  FONTANA  DELL' ACQUA  GIULIA.    47.     F.  822.  1753. 
[i5|x  23I.]     Signed,  lower  r. :  Piranesi  Architettofec. 

I.  Tht  title  htgins :// Castei  dell' Acgua  Marcia  ..  .    SOAHE  (Magni/icenze).     B.M.     Tubes. 

II.  Title  altered  to :   Veduta  dell'  avanzo  del  Castello,  che  prendendo  una  porzione  del'  Acgua 


48  THE  'VIEWS  OF  ROME' 

Giulia  dalCondotto  principale  parte  ne  diffbndeva  in  una  magnifica  fontana  che  gli  era  aderente, 
e  decor ata  da  M.  Agrippa  fragli  altri  omatnenti  de'  Trofei  cT Augusta.  Address  :  Bouchard 
e  Gravier.    Added  work  darkening  the  clouds.    Davies. 

III.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  z\.  B.M.  B.M.L.  B.M.L.,  King's. 
SOANE  (with  8  in  MS.  lower  r.).  TUBBS.  It  appears  in  this  state  in  editions  of  the  '  Trofei  di 
Ottaviano  Augusto'  with  the  printed  title-page  of  1753  (but  no  doubt  issued  later  than  that  date), 
e.g.  B.M.L.,  King's. 

IV.  Price  erased.  Numbered  viii.  47,  lower  r.  margin.  Tubes,  ist  Paris  Ed.  It  also  appears 
in  this  state  in  the  later  edition  of  the  '  Trofei '  with  the  engraved  title-page. 

V.  Additional  number  47  upper  r.    Intermed.  Paris  Ed. 

VI.  Number  731  upper  r.    Ed.  Firmin-Didot,  Paris. 

Formerly  decorated  with  the  so-called  Trophies  of  Marius,  now  on  the  balustrade  of  the 
Capitol. 

35.  THE  PYRAMID  OF  CAIUS  CESTIUS,  WITH  THE  PORTA  S.  PAOLO 
AND  ADJOINING  ROAD.  no.  F.  810.  1755. 
Title  :    Veduta  del  Sepolcro  di  Cajo  Cestio. 

[16  X  2 1  J.]     Signed,  lower  r. :  Piranesi  del.  inc. 

I.  Before  address.  The  foreground  bears  no  inscription,  and  its  apex  is  3^^  inch  from  upper 
margin  of  plate.  SOANE,  Blomfield,  Charrington  (Magnificenze).  B.M.  Chatsworth. 
Tubes. 

II.  Address:  Bouchard  e  Gravier.  Darker  lines  of  shading  (horizontal)  added  in  sky  along 
upper  border,  and  the  pyramid  newly  etched  on  a  larger  scale  and  with  inscriptions  on  its 
r.  side.    Its  apex  is  now  only  I J  inches  from  upper  margin  of  plate.    Davies. 

III.  Address  and  price :  Autore,  Palazzo  Tomati.  Paoli  7,\.    B.M.L.    B.M.L.,  King's.  Tubbs. 

IV.  Price  erased.    Numbers,  26  I  lower  1.,  no  lower  r.  margin.    SOANE.    TUEBS.    ist  Paris  Ed. 

V.  Number  43  upper  r.     Intermed.  Paris  Ed. 

VI.  Number  795  upper  r.    Ed.  Firmin-Didot,  Paris. 

Both  this  and  the  following  are  taken  from  inside  the  walls. 

I  have  reversed  the  order  of  Nos.  35  and  36  as  given  in  my  List  in  the  Burlington 
Magazine,  Feb.,  1914.  Neither  the  engraved  catalogues  nor  the  printed  catalogues  of  1792 
and  1800  give  any  definite  clue,  but  the  order  now  given  corresponds  to  the  numbering 
on  State  IV  of  present  plate,  and  on  both  the  plates  in  the  edition  of  Firmin-Didot. 

36.  THE  PYRAMID  OF  CAIUS  CESTIUS.  in.  F.  745.  .  1756. 
Title  (on  scroll  lower  r.) :  Piramide  di  C.  Cestio. 

[15JX  21.]     Signed,  lower  r. ;  Piranesi  F. 

\.  kAdifi%:  Autore.    B.M.    B.M.L.    B.M.L.,  King's.    Soane.    Tubbs.    1st  Paris  Ed. 

II.  Number  44  upper  r.    Intermed.  Paris  Ed. 

III.  Number  796  upper  r.    Ed.  Firmin-Didot,  Paris. 

37.  S.  COSTANZA  (ERRONEOUSLY  CALLED  TEMPLE  OF  BACCHUS).  21. 
F.  811.  1756. 
[i6Jx2i^.]     ^\^tA,\a<fitr\.:  Piranesi Architetto fee. 

I.  Title :  Tempio  di  Bacco.    Before  address.    Soane,  Blomfield,  Charrington  {Magni- 
ficenze).   B.M.    Tubbs. 


CATALOGUE  49 

II.  Title  altered  to :  Veduta  interna  del  Sepolcro  di  S.  Costanza,  fabbricato  da  Costantino 
Magna,  ed  erroneamente  delta  il  tempio  di  Bacco,  inoggi  Chiesa  delta  medesima  Santa. 
Address :  Bouchard.  Rebiting  adding  irregular  shadow  on  floor  in  foreground  near  margin. 
Davies. 

III.  hiAxtm  Autore,  Strada  Felice.    Paoli  2\.    B.M.    B.M.L.    B.M.L.,  King's. 

IV.  Price  erased.  Numbers  added  near  centre  of  lower  margin,  3  to  1.,  21  to  r.  SOANE. 
Tubes,    ist  Paris  Ed. 

V.  Additional  number  21  upper  r.  margin.    Intermed.  Paris  Ed. 

VI.  Number  705  towards  lower  r.    Ed.  Firmin-Didot,  Paris. 

38.  THE  CAPITOL  AND  THE  STEPS  OF  S.  MARIA  IN  ARACOELI.  75. 
F.  807.  1775  (error  for  1757  ?). 
Title :   Veduta  del  Romano  Campidoglio  con  scalinata  che  va  alia  Chiesa  d'  Araceli. 

[i5f  X  2i|.]     Signed,  lower  r. :  Piranesi  del.  scol. 

I.  Before  address.  Soane,  Blomfield,  Charrington  {Magnificenze).  B.M.  Chats- 
worth.    Tubes. 

II.  Address  and  price:  Autore,  Palazzo  Tomati.  Paoli  2\.  Further  lines  of  shading  (e.g. 
making  two  tones  in  shadow  in  immediate  foreground  1.  by  the  two  dogs),  and  rebiting  (e.g.  on 
and  around  the  wa//'«<j/a).    B.M.L.    B.M.L.  King's.    Davies. 

III.  Price  erased.     Numbers  15  III  lower  r.  margin.    SOANE.    Tubes,     ist  Paris  Ed. 

IV.  Number  7  upper  r.    Intermed.  Paris  Ed. 

V.  Number  759  upper  r.    Ed.  Firmin-Didot,  Paris. 

39.  THE  CAPITOL,  SEEN  FROM  THE  SIDE  OF  THE  CENTRAL  STEPS. 
77.  F.  747.  1775  (error  for  1757?). 
Title  (on  scroll  towards  r.) :   Vedula  del  Campidoglio  di  Fianco. 

[16  X  265.]     Signed,  in  work  towards  lower  r. :  Piranesi  F. 

I.  Before  address.  Comer  of  building  along  r.  margin  of  plate  reaches  within  ^\  in.  of  top  of 
plate  ;  irregular  clouds  around  the  trophy  in  centre.    Cotswold  Gallery  (1922). 

II.  Address:  Autore.    B.M.    B.M.L.    Davies.    Tubes. 

III.  The  comer  of  building  along  r.  margin  erased,  except  for  5  in.  at  the  foot ;  the  sky  lighter, 
e.g.  the  clouds  around  trophy  cleared  away.     B.M.    B.M.L.,  King's.    Tubes. 

IV.  Heavy  lines  of  shading  added  in  foreground,  e.g.  heavy  series  of  parallel  horizontals  on  lower 
part  of  fragment  of  stonework  just  above  1.  corner  of  scroll.  B.M.  B.M.L.,  King's.  Tubbs. 
Soane.    ist  Paris  Ed. 

V.  Number  9  upper  r.  margin.    Intermed.  Paris  Ed. 

VI.  Number  761  upper  r.  margin.    Ed.  Firmin-Didot,  Paris. 

An  original  study  for  this  plate  in  the  same  direction  is  in  the  British  Museum.  It  is 
vigorously  drawn  in  red  chalk  (over  light  initial  sketch  in  black  chalk)  with  touches  of  sepia. 
It  shows  the  corner  of  building  on  the  right  as  in  State  I. 

40.  THE  FORUM  ROMANUM,  OR  CAMPO  VACCINO,  FROM  THE  CAPITOL, 
WITH  THE  ARCH    OF   SEPTIMIUS    SEVERUS   IN  THE  FOREGROUND  L., 

E 


50  THE  'VIEWS  OF  ROME" 

TEMPLE  OF  VESPASIAN  R.,  AND  THE  COLOSSEUM  IN  THE  DISTANCE. 
78.    F.  803.  1775  (error  for  1757  ?). 

Title :   Veduia  di  Campo  Vaccino. 
[16X2 1  J.]     Signed,  lower  r. :  Piramsi  del.  scolp. 

I.  Before  address.  SOANE,  Blomfield,  Charrington  (Magnificenze).  B.M. 
Chatsworth.    Tubes. 

II.  Address  :  Bouchard  e  Gravier.    Davies. 

\\\.  PiM.xiiii^XiA^x\cf.  Autore,  Palazzo  Tomati.  Paoli2\.  B.M.  B.M.L.  B.M.L.,  KING'S. 
Tubes. 

IV.  Price  erased.    Numbers  16  (1.)  and  78  (r.)  lower  margin.    SOANE.    TuBBS    1st  Paris  Ed. 

V.  Number  10  upper  r.  margin.     Intermed.  Paris  Ed. 

VI.  Number  762  towards  r.    Ed.  Firmin-Didot,  Paris. 

41.  A  CORNER  OF  THE  FORUM  ROMANUM,  WITH  THE  TEMPLE  OF 
CASTOR  AND  POLLUX,  AND  S.  MARIA  LIBERATRICE  IN  FOREGROUND 
L.,  S.  TEODORO  IN  MIDDLE  DISTANCE,  AND  MONTE  AVENTINO  IN 
THE  DISTANCE.  83.  F.  801.  1756. 
Title :    Veduia  del  Sito,  ov'  era  I  antico  Foro  Romano. 

[14I X  23|.]     Signed,  lower  r. :  Piranesi  Architetlofec. 

I.  Before  address.     SoANE,  Blomfield,  Charrington  {Magnificenze).    B.M.    Tubes. 

II.  Address:  Bouchard e  Gravier.    Davies. 

III.  Address  and  price:  ^/^/('r^.  Pae/izJ.    B.M.L.    B.M.L.,  King's.    Tubes. 

IV.  Rebiting,  and  added  lines,  e.  g.  smaller  lines  added  between  the  regular  vertical  shading  at 
top  of  the  pilasters  on  fagade  of  church,  giving  small  patches  of  shadow.    Tubes.    Soane. 

V.  Price  erased,     ist  Paris  Ed. 

VI.  Number  15  upper  r.     Intermed.  Paris  Ed. 

VII.  Number  767  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

The  three  columns  of  the  Temple  of  Castor  and  Pollux  are  described  by  Piranesi  as  of 
the  Temple  of  Giove  Statore.  The  church  of  S.  Maria  Liberatrice  is  no  longer  in 
existence. 

42.  THE  FORUM  OF  AUGUSTUS  (ERRONEOUSLY  CALLED  FORUM  OF 
NERVA).  95.  F.  749.  1757- 
Title  :    Veduia  degli  Avami  del  Foro  di  Nerva. 

[15I X  24|.]     Signed,  lower  r. :  Gio.  Bail.  Piranesi  Archil.  F. 

I.  Address :  Bouchard  e  Gravier.    Davies. 

II.  Address  and  price  :  Autore,  Palazzo  Tomati.  Paoli  2\.    B.M.    TUBBS. 

III.  Heavy  vertical  lines  of  shading  added  on  stonework  above  and  just  to  r.  of  the  r.-hand  post 
on  1.  of  print,  but  the  general  tone  of  the  print  as  in  earlier  states.    B.M.L. 

IV.  More  heavily  bitten  throughout :  heavy  vertical  lines  of  shading  added  on  stonework  ij  in. 
to  r.  of  arched  gateway.    B.M.    B.M.L.,  King's. 

V.  Price  erased.  Numbers  21.  I  (1.)  and  95  (centre)  lower  margin.  Soane.  Tubes.  1st 
Paris  Ed. 

VI.  Number  XXVII  upper  r.     Intermed.  Paris  Ed. 

VII.  Number  779  upper  r.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  S' 

The  view  is  taken  from  without,  the  Temple  of  Mars  Ultor  being  seen  through  the 
opening. 

The  interior  of  the  same  Forum  is  represented  by  Piranesi  under  the  correct  title  Foro 
di  Augusta  in  the  small  oblong  views  of  his  '  Antichit^  Romane  de'  Tempi  della 
Repubblica,'  1748. 

43-  SUBSTRUCTURE  OF  THE  TEMPLE  OF  CLAUDIUS  AT  THE  CHURCH 
OF  SS.  GIOVANNI  E  PAOLO  (FORMERLY  CALLED  THE  CURIA  HOSTILIA). 
102.     F.  804.  1767- 

[15I X  23I.]     Signed,  lower  r. :  Piranesi  Archiieitofec. 

I.  Title  in  large  italics  :  Veduta  della  Curia  Ostilia.  Before  address.  SOANE,  Blomfield, 
Charrington  (Magnificenze).     B.M.    TuBBS. 

II.  Title  in  capitals,  but  smaller  than  the  Italics:  Veduta  del  piano  superiore  del  Serraglio 
delle  fiere  fabbricato  da  Domiziano  a  uso  delP  Anfiteatro  Flavio,  e  volgarmente  detto  la  Curia 
Ostilia.  Address :  Bouchard  e  Gravier.  Further  lines  of  shading  and  markings  of  brick  work 
added,  e.g.  on  arch  furthest  1.    Davies. 

III.  Address  and  price  :  Autore,  Strada  Felice.  Paoli  a^.  B.M.  B.M.L.  B.M.L.,  King's. 
SoANE.    Tubes. 

IV.  Price  erased.    Tubes,    ist  Paris  Ed. 

V.  Number  35  upper  r.    Intermed,  Paris  Ed. 

VI.  Number  787  above  near  centre.    Ed.  Firmin-Didot,  Paris. 

44.  THE  TEMPLE  OF  VESPASIAN.     79.    F.  819.  1756. 

Title  :    Veduta  del  Tempio  di  Giove  Tonante, 

[15I X  23^.]     Signed,  lower  r. :  Piranesi  Archit.  dis.  ed  inc. 

I.  Before  address.    The  wall  lower  1.  has  shading  only  in  verticals  apart  from  the  foliage.  B.M. 

Tubes. 

\\.  KdLii.rt%,iz.tii.-^r^CK:  Autore,  Strada  Felice.  Paoli  l\.     B.M.L.    DavieS. 

III.  Parallel  lines  of  shading,  sloping  upwards  from  1.  to  r.,  added  on  upper  1.  part  of  wall  on  1. 
B.M.L.,  King's.    Tubes. 

IV.  Price  erased.  Heavy  parallel  and  nearly  horizontal  lines  of  shading  added  on  same  wall, 
above  and  behind  the  seated  man's  head.    B.M.    Soane,    Tubes,     ist  Paris  Ed. 

V.  Number  11  upper  r.,  margin.     Intermed.  Paris  Ed. 

VI.  Number  763  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

45.  THE  BASILICA  OF  CONSTANTINE.  86.  F.  813.  1757. 
[i6f  X  2i|.]     Signed,  lower  r. :  Piranesi  Archiieitofec. 

I.  Title  :  Veduta  degli  Avanzi  del  Tempio  della  Pace.  Before  address.  SOANE,  BLOMFIELD, 
Charrington  {Magnificenze).    B.M.    Tubes. 

II.  Address:  Bouchard e  Gravier. 

III.  Title :  Veduta  degli  Avanzi  del  Tablino  della  Casa  Aurea  di  Nerone  detti  volgarmente  il 
Tempio  della  Pace.  Address  and  price  :  Autore,  Strada  Felice.  Paoli  2J.  Further  lines  of 
shading  added,  darkening  the  wall  on  which  man  is  seated  in  the  foreground.  B.M.L.  B.M.L., 
King's.    Davies.    Tubes. 

E  2 


5»  THE  'VIEWS   OF  ROME' 

IV.  Price  erased.  Very  strong  darkening  of  shadows  in  foreground,  a  series  of  parallel  lines 
being  added  in  the  centre  of  lower  margin  immediately  above  the  word  AUREA  in  inscription. 
SOANE.    TUBBS.     1st  Paris  Ed. 

V.  Number  i8  upper  r.     Intermed.  Paris  Ed. 

VI.  Number  770  upper  r.      Ed.Firmin-Didot,  Paris. 

I  have  not  seen  impressions  of  II,  but  infer  its  existence  from  half-erased  address  still 
visible  on  later  state.     I  cannot  say  whether  the  title  was  changed  before  III. 

Piranesi's  titles  are  erroneous.  The  building  is  now  sometimes  called  the  Basilica  of 
Maxentius,  who  was  responsible  for  most  of  the  building,  afterwards  slightly  altered  by 
Constantine. 

46.  THE  SO-CALLED  TEMPLE  OF  FORTUNA  VIRILIS  (NOW  CHURCH  OF 
S.  MARIA  EGIZIACA).  59.  F.  817.  1758. 
Title  :   Veduta  del  tempio  delta  Fortuna  Virile. 

[14IX23.]     Signed,  lower  r. :  Piranesi  Archiletto  fee. 

I.  Before  address.    SOANE,  Blomfield,  Charrington  {Magnificense).    B.M.    Tubbs. 

II.  Address  :  Bouchard  e  Gravier.  Further  lines  of  shading,  and  stronger  biting  on  the  princi- 
pal building  (e.g.  on  middle  of  broken  pilaster  at  corner).    Davies. 

III.  Address  and  price:  Aittore,  Palazzo  Totnati.  Paoli  2J.  B.M.L.  B.M.L.,  King's. 
Tubes. 

IV.  Further  darkening  of  shadow  (by  rebiting,  or  the  graver)  on  ground  r.     B.M. 

V.  Price  erased.    Soane.    Tubes,    ist  Paris  Ed. 

VI.  Number  59  lower  r.  margin.     Intermed.  Paris  Ed. 

VII.  Number  743  upper  r.    Ed.  Firmin-Didot,  Paris. 

It  is  uncertain  whether  this  building  was  a  temple  of  Fortune,  or  of  the  Mater  Matuta, 
both  of  which  were  near  this  site. 

47.  THE  TEMPLE  OF  PORTUNUS(?)  (THE  ROUND  TEMPLE  NEAR 
S.  MARIA  IN  COSMEDIN).  58.  F.  820.  1758. 
Title :   Veduta  del  Tempio  di  Cibele  a  Piazza  detla  Bocca  delta  Verith. 

[i5f  X  23! .]     Signed,  lower  r. :  Piranesi  Archit.  dis,  ed  incise. 

I.  Before  address.    B.M.    TuBBS. 

II.  Address  and  price  :  Autore,  Strada  Felice.  Paoli  2j.  Horizontal  lines  of  dark  shading 
added  in  sky  near  centre  upper  margin.  B.M.  B.M.L.  B.M.L.,  King's.  Soane.  Davies. 
Tubes. 

III.  Price  erased.    Tubes,    ist  Paris  Ed. 

IV.  Number  58  lower  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  742  upper  r.    Ed.  Firmin-Didot,  Paris. 

The  old  titles,  Temple  of  Cybele  or  Temple  of  Vesta,  are  certainly  incorrect.  Has  been 
used  for  the  church  of  S.  Maria  del  Sole. 

48.  THE  SO-CALLED  TEMPLE  OF  BACCHUS,  NOW  THE  CHURCH  OF 
S.  URBAN.  60.  F.  753.  1758. 
Title  :    Veduta  del  tempio  di  Bacco,  or  di  S.  Urbano. 

[155X  24J.]     Signed,  lower  r. :  Gio.  Bait.  Piranesi  Arch.  F. 
I.  Address :  Bouchard  e  Gravier.    Davies. 


CATALOGUE  53 

II.  Address  and  price  :  Autore,  Palazzo  Tomati.  Paoli  2J.  B.M.  B.M.L.  B.M.L.,  King's. 
Tubes. 

III.  Price  erased.    B.M. 

IV.  Number  60  lower  r.  margin,  11  I  lower  1.    SOANE.    TuBBS.     ist  Paris  Ed. 

V.  Additional  number  744  towards  upper  r.    Intermed.  Paris  Ed.    Ed.  Firrain-Didot,  Paris. 
Possibly  the  temple-tomb  of  Aurica  Regilia,  wife  of  Herodes  Atticus. 

49.  THE  TEMPLE  OF  ANTONINUS  AND  FAUSTINA.  85.  F.  802.  1758. 
Title  :   Veduta  del  Tempio  d  Antonino  e  Faustina  in  Campo  Vaccina. 

[15I X  21^.]     Signed,  lower  r. :  Piranesi  Architeitofec. 

I.  Before  address.    Soane,  Blomfield,  Charrington  (il/ag7«yf««if).    B.M.    Tubes. 

II.  Address  :  Bouchard e  Gravier.  Lines  added  (indicating  beams?)  beneath  eaves  of  roof  of 
house  on  r.    Davies. 

III.  AiiArtss  axiA  ■pnct:  Autore,  Palazzo  Tomati.  Paoli 2\.  B.M.  B.M.L.  B.M. L.,  King's. 
SoANE.    Tubes. 

IV.  Price  erased.    Number  19  lower  r.  margin,    TuBBS.     ist  Paris  Ed. 

V.  Number  17  upp)er  r.    Intermed.  Paris  Ed. 

VI.  Number  769  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

50.  THE  TEMPLE  OF  VENUS  AND  ROMA  (ERRONEOUSLY  CALLED 
TEMPLE  OF  SOL  AND  LUNA).     88.     F.  812.  1759. 

[I6JX2I|.] 

I.  Title  in  centre  below :  Tempj  del  Sole  e  delta  Luna,  0  come  altri,  cflside  e  Serapi  in  Campo 
Vaccina  negli  Orti  di  S.  Francesca  Romana.  Signed,  lower  1.  :  Piranesi  del  e  scol.  Before 
numbers    and    references.       Soane,    Blomfield,    Charrington    {Magnificenze).       B.M. 

TUBBS. 

II.  Very  considerably  rebitten  and  darkened  in  shadows  and  foreground!.,  and  some  additional 
lines  (e.  g.  on  fallen  column  in  foreground  r.).    TuEBS. 

III.  Title  altered  to  :  Veduta  degli  Avanzi  di  due  Triclinj  che  appartenevano  alia  Casa  aurea 
di  Nerone,  presi  erroneamente  per  i  Templi  del  Sole,  e  delta  Luna,  o  d'Iside  e  Serapide.  Signa- 
ture now  in  lower  r. :  G.  B.  Piranesi  Archil,  incise.  Address  and  price:  Autore,  Palazzo 
Tomati.     Paoli  2J.     B.M.     B.M.L.     B.M.L.,  KING'S.     Davies.     Soane.     Tubbs. 

IV.  Price  erased.    Number  19  lower  r.  margin.    Tubes.    1st  Paris  Ed. 

V.  Number  20  upper  r.    Intermed.  Paris  Ed. 

VI.  Number  772  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

51.  TRAJAN'S  COLUMN.  UPRIGHT.  31.  F.  798.  -  1758. 
Title :  Colonna  TVajana. 

[21-^  X  16.]     Signed,  lower  r. :  Piranesi  fecit. 

I.  Before  address.  The  end  of  fluted  column  on  ground  fairly  light,  irregular  dots  showing 
between  the  lines.    Soane,  Blomfield,  Charrington  {Magnificenze).    B.M.    Tubes. 

II.  Address:  Bouchard e  Gravier.     Davies. 

III.  Address  and  price:  ^«/fr^, /'a/rt^^fj  7i>«/a//.    Paoli  2\.    B.M.L. 

IV.  The  shading  at  end  of  column  heavily  rebitten,  nearly  hiding  the  irregular  dots  and  flecks 
seen  in  earlier  state.    B.M.L.,  King's.    Tubes. 

V.  Price  erased.    B.M.    Soane.    Tubes,    ist  Paris  Ed. 

VI.  Number  31  upper  r.    Intermed.  Paris  Ed. 

VII.  Number  715  upper  r.     Ed.  Firmin-Didot,  Paris. 


54  THE  'VIEWS  OF  ROME' 

Sa.  THE  COLUMN  OF  MARCUS  AURELIUS.    UPRIGHT.    32.    F.  799.      1758. 

Title :  Colonna  Anlonma. 

[2i|x  isl-l     Signed,  lower  r. :  Piranesi fecit. 

I.  Before  address.    Soane,  Blomfield,  Charrington  {Magnificeme).    B.M.    Tubbs. 

II.  Address  :  Bouchard.     Davies. 

III.  Address  and  price:  /I «/cr«, /'a/«^^o  7'(?;«a//.    Paoli2\.     B.M.L. 

IV.  More  heavily  bitten,  e.g.  added  irregularities  of  dark  shading  in  shadow  by  two  groups  of 
figures  in  foreground  r.  (by  lower  margin).    B.M,    B.M.L.,  King's.    Tubbs. 

V.  Price  erased.    Numbers  in  margin,  4  lower  I.,  32  lower  r.    Soane.     Tubbs.     1st  Paris  Ed. 

VI.  Additional  number  32  upper  r.     Intermed.  Paris  Ed. 

VII.  Number  716  upper  r.    Ed.  Firmin-Didot,  Paris. 

53.  THE  EGYPTIAN  OBELISK  IN  THE  PIAZZA  DI  S.  GIOVANNI 
LATERANO.  UPRIGHT.  12.  F.  800.  1759. 
Title  :  Obelisco  Egizio. 

[2i|  X  i5|.]     Signed,  lower  r. :  Piranesi  Architeito fee. 

I.  Before  address.    Soane,  Blomfield,  Charrington  {Magnijicenze).    B.M.    Tubbs. 

II.  Address  and  price  :  Autore,  Palazzo  Tomati.  Paoli  z\.  B.M.L.  B.M.L.,  KING'S.  Davies. 
Tubbs. 

III.  Price  erased.    B.M.    Soane.    Tubbs.    ist  Paris  Ed. 

IV.  Number  12  lower  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  696  near  centre,  above.    Ed.  Firmin-Didot,  Paris. 

54.  THE  ARCH  OF  SEPTIMIUS  SEVERUS,  WITH  THE  CHURCH  OF 
S.  MARTINA  ON  THE  R.  84.  F.  809.  1759 
T'xtlt:  Arco  di  Seltimio  Severo. 

[14JX23.]     Signed,  lower  r. :  Piranesi  Archiletto fee. 

I.  Before  address.    Soane,  Blomfield,  Charrington  (Magnijicenze).    B.M.    Tubbs. 

II.  Address  :  Bottchard  e  Gravier.  Building  on  r.  considerably  darkened  (rebiting  or  graver 
work,  e.g.  various  short  horizontal  lines  on  lower  part  where  shading  in  early  state  was  only  in 
open  verticals).    Davies. 

III.  Address  and  price  :  Auiore,  Palazzo  Tomati.  Paoli2\.   B.M.L.   B.M.L.,  King's.    Tubbs. 

IV.  Price  erased.    Soane.    Tubbs.    ist  Paris  Ed. 

V.  Number  16  upper  r.    Intermed.  Paris  Ed. 

VI.  Number  768  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

55.  THE  ARCH  OF  TITUS.  90.  756.  1760. 
Title :    Veduta  deU  Area  di  Tito. 

[15!  X  24J.]     Signed,  lower  r. :  Gio.  Batta  Piranesi  diseg.  e  incise. 

I.  Address  and  price:  Autore,  Strada  Felice.  Paoli  2\.  B.M.  B.M.L.  B.M.L.,  King's. 
Davies.    Tubbs. 

II.  Heavy  rebiting  :  the  arch  is  now  in  much  darker  shadow.    TuBBS. 

III.  Price  erased.    B.M.    Soane.     ist  Paris  Ed. 

IV.  Number  22  upper  r.    Intermed.  Paris  Ed. 

V.  Number  774  upper  r.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  55 

56.  THE  ARCH  OF  CONST  ANTINE  AND  THE  COLOSSEUM.  100. 
F.  805.  1760. 
Title :   Veduta  delt  Arco  di  Coslantino,  e  delt  Anfiteatro  Flavio  ditto  il  Colosseo. 

[16 X  2i|.]     Signed,  lower  r. :  Piranesi  del.  scolp. 

I.  Before  address.    SOANE,  Blomfield,  Charrington  (Magnificenze).   B.M.  Chatsworth. 

TUBBS. 

II.  Address:  Bouchard e  Gravie?:    CoTSWOLD  Gallery  (1921). 

III.  Address  and  price  :  Atttore,  Strada  Felice.  Paoli  2J.  B.M.  B.M.L.  B.M.L.,  King's. 
Davies.    Tubes. 

IV.  Price  erased.    Numbers  22 1  III  lower  r.  margin.    Soane.    Tubes.    1st  Paris  Ed. 

V.  Number  32  upper  r.    Intermed.  Paris  Ed. 

VI.  Number  784  upper  r.    Ed.  Firmin-Didot,  Paris. 

A  drawing  of  the  same  size  and  apparently  the  same  subject,  attributed  to  Piranesi,  was 
in  the  R.  W,  P.  de  Vries  sale,  Amsterdam,  35  Jan.  1921  (No.  94) :  perhaps  the  original 
design  for  this  subject. 

57.  THE  COLOSSEUM.  97.  F.  758.  1757. 
Title  :    Veduta  delt  Anfiteatro  Flavio,  detto  il  Colosseo. 

[17  J  X  2  7|.]     Signed,  lower  r. :  Piranesi  F. 

I.  Address  and  price :  Autore,  Strada  Felice.  Paoli  2j.  B.M.  B.M.L.  B.M.L.,  KING'S. 
Davies.    Tubes. 

II.  Price  erased.    B.M.    SoANE.    TuBBS.    1st  Paris  Ed. 

III.  Number  29  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  781.    Ed.  Firmin-Didot,  Paris. 

58.  THE  PORTICO  OF  OCTAVIA :  THE  ENTRANCE  PORCH.  EXTERIOR. 

67.  F.  815.  1760. 
[15I X  23|.]     Signed,  lower  r. :  Piranesi  Architetto  fee. 

I.  Title:  Veduta  del  Tempio di Bellona.     Blomfield,  CHARRINGTON  (^a^i3'^««Z(?).    B.M. 

II.  Title  altered  to  :  Veduta  delF  Atrio  del  Portico  di  Ottavia.  SOKTXZ  {Magnificenze).  B.M. 
Tubes. 

III.  Address:  Bouchard  e  Gravier.  Deeper  biting,  and  some  added  lines,  e.g.  horizontal 
shading  on  shadowed  side  of  pilaster  in  centre.    Davies. 

IV.  Address  and  price:  .r4«/^r^,  i'/r^K/ij />/?«.  Paoli  2^.  B.M.L.  B.M.L.,  KING'S.  SOANK. 
(12  I  written  in  margin).    Tubes. 

V.  Price  erased.    Tubes.    1st  Paris  ed. 

VI.  Number  67  lower  r.  margin.    Intermed.  Paris  Ed. 

VII.  Number  751  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

59.  THE  PORTICO  OF  OCTAVIA:   THE  ENTRANCE  PORCH.    INTERIOR. 

68.  F.  816.  1760. 
Title :   Veduta  interna  delt  A  trio  del  Portico  di  Otlavia. 

[i6|  X  2if.]     Signed,  lower  r. :  Piranesi  Architetto /ec. 

I.  Before  address.    SOANE,  Blomkield,  Charrington  {Magnificenze).    B.M.    TtrBBS. 

II.  Address:  Bouchard  e  Gravier  {ot  Bouchard}). 


56  THE  'VIEWS  OF  ROME' 

III.  Address  and  price :  Autore,  Strada  Felice.  Paoli  2\.  Deeper  biting  and  added  shading 
(e.g.  irregularities  of  shadow  on  wall  in  foreground  1.  are  emphasized)  and  outline  of  clouds 
upper  1.  more  distinct.    B.M.    B.M.L.     B.M.L.,  King's.    Soane.    Tubes. 

IV.  Price  erased,    ist  Paris  Ed. 

V.  Number  68  lower  r.  margin.    Intermed.  Paris  Ed. 

VI.  Number  751  (error  for  752)  upper  r.    Ed.  Firmin-Didot,  Paris. 

I  do  not  know  impressions  of  II,  but  infer  its  existence  from  the  imperfectly  erased 
address  still  visible  on  some  impressions  of  III  (e.  g.  B.M.L.,  King's).  It  is  not  clear 
whether  it  is  Bouchard  or  Bouchard  e  Gravier.  Nor  can  I  say  whether  the  additional 
shading  was  added  in  II  or  III. 


60.  THE  PANTHEON  EXTERIOR.     70.    F.  761.  1761. 

Title  on  long  scroll  at  foot:  Veduta  del  Pantheon  d"  Agrippa  oggi  Chiesa  di  S.  Maria  ad 

Mariyres. 

[i8^x  27|.]    Signed,  on  scroll  towards  1. :  Piranesi  F. 

I.  Price  and  address  :    Paoli  3.  Autore,  Palazzo  Totnati.    B.M.    B.M.L.    B.M.L.,  KING'S. 
Davies.    Tubes. 

II.  Price  erased.    B.M. 

III.  Numbers,  14  I  (r.  of  cartouche).     SOANE.    TUBES,     ist  Paris  Ed. 

IV.  Number  2  upper  r.    Intermed.  Paris  Ed. 

V.  Numbers  256,  754  upper  r.    Ed.  Firmin-Didot,  Paris. 


61.  THE  TEMPLE  OF  THE  SIBYL,  TIVOLI,  WITH  ANOTHER  TEMPLE  R., 
ONCE  USED  AS  CHURCH  OF  S.  GIORGIO.     122.    F.  764.  1761. 

Title :    Veduta  del  tempio  della  Sibilla  in  Tivoli. 
[i6^X  25.]     Signed,  lower  r. :  Piranesi  Fee. 

I.  Address  and  price  :  Autore,  Palazzo  Totnati.    Paoli  2J.    B.M.     B.M.L.    B.M.L.,  King's. 
Tubes. 

II.  Price  erased.    Very  strong  horizontal  lines  of  shading  added  on  trunk  of  tree  in  r.  foreground. 
B.M. 

III.  Numbers,  30  I  lower  r.    SOANE.    TuBBS.     1st  Paris  Ed. 

IV.  Number  55  upper  r.    Intermed.  Paris  Ed. 

V.  Number  807  upper  r.    Ed.  Firmin-Didot,  Paris. 


62.  THE  TEMPLE  OF  THE  SIBYL,  TIVOLI :   THE  BROKEN  SIDE  OF  THE 
COLONNADE.     123.    F.  765.  1761. 

Title  in  scroll  r. :  Altra  Veduta  del  Tempio  della  Sibilla  in  Tivoli. 
[i7ix  26.]     Signed,  in  work  toward  1. :  Piranesi  F, 

I.  No  address.    B.M.    B.M.L.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  56  upper  r.    Intermed.  Paris  Ed. 

III.  Number  808  upper  r.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  57 

63.  THE  TEMPLE  OF  THE  SIBYL,  TIVOLI.  UPRIGHT  PLATE.  124. 
F.  766.  1 761. 
Title  on  scroll  1. :  Altra  Veduta  del  tenipio  dtlla  Sibilla  in  Tivoli. 

[24  J  X  1 7|.]     Signed,  lower  centre  of  scroll :  Piramsi  F, 

I.  B.M.     B.M.L.    B.M.L.,  KING'S.    TUBBS. 

II.  Added  shading,  darkening  the  shadows  beneath  the  upper  row  of  round  arches  (e.  g.  perpen- 
dicular parallels  in  1.  arch).     B.M.    Soane.    Tubbs.     1st  Paris  Ed. 

III.  Number  57  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  809  upper  r.    Ed.  Firmin-Didot,  Paris. 

64.  THE  PONTE  MOLLE.  54.  F.  767.  176a. 
Title,  on  scroll  lower  r. :   Veduta  del  Ponte  Molle  sul  Tevere  due  miglia  Ionian  da  Roma. 

[1 7|  X  26|.]     Signed,  lower  r.  of  scroll :  Piranesi  F. 

I.  Price  and  address  :  Paoli  2J.    Autore,  Palazzo  Tomaii.    B.M.    B.M.L.,  King's.    Tubbs. 

II.  Price  erased.    SoANE.     ist  Paris  Ed. 

III.  Number  54  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  738  upper  r.    Ed.  Firmin-Didot,  Paris. 

65.  THE  SO-CALLED  VILLA  OF  MAECENAS,  TIVOLI.  119.  F.  768.  1763. 
Title,  on  scroll  lower  1. :  Avansi  delta  Villa  di  Mecenate  a  Tivoli,  costruiia  di  travertini 
a  opera  incerta. 

[i  7^  X  26|.]     Signed,  lower  r.  of  scroll :  Piranesi  sc. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubbs.    ist  Paris  Ed. 

II.  Number  52  upper  r.    Intermed.  Paris  Ed. 

III.  Number  804  upper  r.    Ed.  Firmin-Didot,  Paris, 

Now  generally  recognized  as  the  Portico  of  the  Augustales,  connected  with  the  Temple 
of  Hercules. 

66.  TWO  CHURCHES  NEAR  TRAJAN'S  COLUMN,  S.  MARIA  DI  LORETO 
AND  SANTISSIMO  NOME  DI  MARIA.  30.  F.  849.  1762. 
Title,  on  scroll  in  centre  below :  Vedu/a  delle  due  Chiese,  tuna  delta  delta  Madonna  di  Loreto 
t altra  del  Nome  di  Maria  presso  la  Colonna  Trajana. 

[i6f  X  27.]     Signed,  lower  1.  of  scroll :  Piramsi  F. 

I.  Address  and  price :  .,4«/^re.    Paoli  i\.    B.M.    B.M.L.,  KING'S.    TuBBS. 

II.  Price  erased,    Soane.    Tubbs.    ist  Paris  Ed. 

III.  Number  30  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  714  upper  r.    Ed.  Firmin-Didot,  Paris. 

67.  THE  TOMB  OF  CAECILIA  METELLA.     112.    F  772.  1762 
Title  on  face  of  masonry  towards  lower  1. :  Sepolcro  di  Cecilia  Metetla, 

[i7-|x  24|.]     Signed,  in  work  lower  r. :  Piranesi  F. 

I.  Before  added  lines.    B.M.    B.M.L.,  King's.    Tubbs. 

II.  Lines  of  shading  added,  e.g.  verticals  on  the  light  comer  of  building  to  r.,  3  inches  from 
r.  margin  of  print,  and  4  inches  from  the  lower  margin.    B.M. 


58  THE  'VIEWS  OF  ROME' 

III.  Numbers,  112  XXVI  lower  r.    Soane.    Tubes,    ist  Paris  Ed. 

IV.  Number  45  upper  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  797  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

68.  THE  PONTE  LUCANO,  WITH  THE  TOMB  OF  THE  PLAUTII.  115. 
F.  773-  1763- 

Title  on  stone,  lower  r. :   Veduta  del  Ponle  Lugano  su  t  Anione  nella  via  Tiburtina  risarcito 

ne  tempi  bassi. 

[i7|  X  25|.]     Signed,  lower  r.  margin :  Piranesi  F. 

I.  Address  and  price :  y4«/c'r<r.    Paoli  2\.    B.M.     TUBBS. 

II.  Price  erased.    Soane.     ist  Paris  Ed. 

III.  Number  48  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  800  upper  r.    Ed.  Firmin-Didot,  Paris. 

69.  THE  SO-CALLED  TEMPIO  BELLA  TOSSE,  NEAR  TIVOLI.  117. 
F.  774.  1763. 
Title  in  space  towards  lower  r. :  Veduta  del  Tempio  delta  della  Tosse  su  la  via  Tiburtina,  un 
miglio  vicino  a  Tivoli. 

[17I X  22f.]     Signed,  in  work  lower  1. :  Piranesi  F. 

I.  Address  and  price:  ./4«/V?r^.    Paoli7\.    B.M.    B.M.L.,  King's.    Tubbs. 

II.  Price  erased.    B.M.    SoANE.    Tubes,    ist  Paris  Ed. 

III.  Number  50  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  802  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

The  so-called  '  Temple  of  the  Cough '  is  probably  a  tomb,  sometimes  conjectured  to  be 
that  of  the  Turcia  or  Tossia  family. 

70.  THE  SO-CALLED  TEMPIO  DELLA  TOSSE,  NEAR  TIVOLI.  INTERIOR. 
UPRIGHT.  118.  F.  775.  1764. 
Tide  on  space  in  centre  below :   Veduta  interna  del  Tempio  della  Tosse. 

[2  4^X  i8|.]     Signed,  lower  r.  margin;  Piranesi  F. 

I.  Address  and  price  :  Autore.    Paoli  2J.    B.M.    B.M.L.,  KING'S.    TUBES. 

II.  Rebitten  and  darkened  throughout,  e.g.  heavy  lines  (converging  to  vertical  in  centre)  added 
on  dark  work  on  arch,  above.    B.M.    Soane.    Tubes. 

III.  Price  erased,     ist  Paris  Ed. 

IV.  Number  51  upper  r.    Intermed.  Paris  Ed. 

V.  Number  803  in  sky-light.    Ed.  Firmin-Didot,  Paris. 

71.  THE  SO-CALLED  TEMPLE  OF  SALUS,  ON  THE  ROAD  TO  ALBANO. 
65.  F.  776.  1763- 
Title  on  stonework  towards  lower  r. :  Tempio  antico  volgarmente  detto  della  Salute  su  la  via 
d'  Albano,  cinque  miglia  Ionian  da  Roma  .... 

[i6|x  21^.]     Signed,  lower  1.  margin:  Piranesi F, 

I.  B.M.    B.M.L.,  King's.    Tubes. 

II.  Further  biting,  e.g.  darkening  lines  of  brick  work  at  r.  comer  of  temple.  B.M.  Soanb. 
Tubbs.    ist  Paris  Ed. 


CATALOGUE  59 

III.  Number  65  upper  r.  margin.     Intermed.  Paris  Ed. 

IV.  Number  749  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 
Actually  merely  a  tomb,  of  which  nothing  certain  is  known. 

73.  THE  TOMBS  ATTRIBUTED  TO  PISO  LICINIANUS  AND  THE  CORNELII 
ON  THE  APPIAN  WAY.     113.     F.  777.  1764. 

Title  on  cartouche  in  centre  below  :    Veduta  del  Sepolcro  di  Phone  Liciniano  su  faniica  via 
Appia  .  .  ,  B.  Sepolcro  della  famiglia  Cornelia  .... 
[i6|  X  24.]     Signed,  lower  I.  margin  :  Piranesi  F. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  46  upper  r.     Intermed.  Paris  Ed. 

III.  Number  798  upper  r.    Ed.  Firmin-Didot,  Paris. 

The  attributions  of  these  tombs  are  almost  certainly  erroneous. 

73.  THE  SO-CALLED  VILLA  OF  MAECENAS  AT  TIVOLI.  INTERIOR. 
WITH  TWO  FIGURES  IN  THE  OPENING  OF  AN  ARCH  ABOVE.  120. 
F.  769.  1764. 
Title  on  tablet  in  centre  below  :   Veduta  interna  delta  villa  di  Mecenate. 

[r8|  X  24^.]     Signed,  lower  1.  margin :  Piranesi  F. 

I.  Before  added  work.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Added  lines  of  shading  (e.  g.  vertical  lines  towards  1.  of  the  large  upper  arch  2\  inches  from 
1.  of  print],  and  rebiting.    B.M.    Soane.  TUBBS.    ist  Paris  Ed. 

III.  Number  53  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  805  in  the  light  of  the  first  arch  r.    Ed.  Firmin-Didot,  Paris. 

See  No.  65. 

74.  THE  SO-CALLED  TEMPLE  OF  MINERVA  MEDICA.     74.     F.  778.       1764. 
Title,  on  cartouche  towards  lower  1. :   Veduta  del  Tempio  ottangolare  di  Minerva  Medico. 
[iSJx  27^.]     Signed,  lower  1.  margin  :  Piranesi  F. 

I.  Before  added  work.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Added  lines  of  work,  e.g.  heavy  parallel  lines  deepening  shadow  in  vault  of  dome.  B.M. 
Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  6  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  758  upper  r.    Ed.  Firmin-Didot,  Paris. 

Generally  accepted  as  a  Nymphaeum  of  the  Horti  Liciniani.    The  centre  of  the  dome 
collapsed  in  1828. 

75.  THE  WATERFALL  AT  TIVOLI.     125.    F.  779.       1765  (1766  engraved  on  the 

plate). 
Title,  on  masonry  lower  r. :   Veduta  della  Cascata  di  Tivoli. 
[i8|  X  27! .]     Signed,  below  title :  Eques  Piranesius  del  sculp  fj66. 

I.  Before  added  work.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Added  lines  of  shading,  e.  g.  verticals  on  1.  side  of  masonry  which  bears  the  title.     B.M. 

III.  Numbers,  125  XXX  lower  r.    Soane.    Tubes,    ist  Paris  Ed. 


6o  THE  'VIEWS   OF  ROME' 

IV.  Number  58  upper  r.    Intermed.  Paris  Ed. 

V.  Number  810  upper  r.     Ed.  Firmin-Didot,  Paris. 

The  tunnels  made  in  1829  almost  entirely  diverted  this  waterfall. 

76.  THE  BATHS  OF  CARACALLA.  BIRD'S-EYE  VIEW.  103.  F.  852.  1765. 
Title :  Rovine  delle  Termt  Antoniniane. 

[i  7|  X  2  7|.]     Signed,  lower  1.  margin  :  Cavalier  Piraned  F. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  36  upper  r.    Intermed.  Paris  Ed. 

III.  Number  788  upper  r.    Ed.  Firmin-Didot,  Paris.; -■  ^ 

77.  THE  BATHS  OF  CARACALLA:  INTERIOR  OF  THE  CENTRAL  HALL. 
104.  F.  851.  1765. 
Title,  in  cartouche  towards  lower  r. :  Rovine  del  Sisio  0  sia  della  gran  sala  delle  Terme 
Antoniniane. 

[i6|X26|.]     Signed,  to  1.  of  cartouche :  Cavalier  Piranesi  F. 

I.  Before  added  work.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Added  lines  of  shading,  e.g.  horizontals  on  1.  front  of  principal  arch.  B.M.  SOANE. 
Tubes,    ist  Paris  Ed. 

III.  Number  37  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  789  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

78.  THE  COLOSSEUM :  INTERIOR.  99.  F.  760.  1766. 
[i8x27i.] 

I.  Before  title  and  signature.  B.M.  (with  title  in  pen  and  ink:  and  signed  in  MS.  possibly  by 
Piranesi  himself). 

I I.  Title  on  stonework  lower  1. :  Veduia  dell'  interna  delP  Anfiteatro  Flavio  detto  il  Colosseo. 
Signed,  lower  r.  margin  :  Cat''".  Piranesi  fece.    Tubes. 

III.  A  crack  shows  across  lower  1.  corner  of  the  plate.  B.M.  B.M.L.,  King's.  Soane.  Tubes. 
1st  Paris  Ed. 

IV.  Lower  1.  corner  of  plate  broken  off  where  the  crack  appeared  in  III :  Number  31  upper  r, 
Intermed.  Paris  Ed. 

V.  Number  783  upper  r.    Ed.  Firmin-Didot,  Paris. 

79-  ENTRANCE  DOOR  TO  PART  OF  THE  VILLA  CALLED  THE  'SETTE 
BASSr  ON  THE  ROAD  TO  FRASCATI.     66.    F.  781.  1766. 

Title  on  stone  towards  1.  below  :  Avanzi  iun  portico  coper  to,  0  criptoportico  in  una  Villa  di 
Domiziano  cinque  miglia  Ionian  da  Roma  su  la  via  di  Frascati. 
[i6^X23|.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  added  lines  and  rebiting.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Rebiting  and  added  lines  (e.  g.  added  projections  of  dark  shadow  to  1.  of  cornice  of  pediment 
and  brick  work  also  strongly  emphasized).    B.M.    SoANE.    Tubes.     1st  Paris  Ed. 

III.  Number  66  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  750  upper  r.    Ed.  Firmin-Didot,  Paris. 

The  ornamental  doorway  shown  in  the  print  no  longer  exists.     See  Dr.  Thomas  Ashby, 
Papers  of  the  British  School  of  Rome,  IV.  p.  106  (pi.  VII.  13),  and  pp.  91  and  111. 


CATALOGUE  6i 

80.  THE  SO-CALLED  GROTTO  OF  EGERIA.  63.  F.  782.  1766. 
Title  on  scroll,  lower  r. :  Veduta  delta  fonte  e  delle  Spelonche  d"  Egeria/uor  delta  porta  Capena 
or  di  S.  Seb'^o. 

[155X  26|.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  added  work.    B.M.    B.M.L.,  King's.    Tubbs. 

II.  Added  lines  of  foliage  on  top  of  building  above  the  Fountain;  added  shading  in  various 
places,  e.g.  under  arch  1.    B.M. 

III.  Number  II  on  cartouche  r.    Soane.    Tubbs.    ist  Paris  Ed. 

IV.  Number  63  upper  r.    Intermed.  Paris  Ed. 

V.  Number  747  upper  r.    Ed.  Firmin-Didot,  Paris. 

With  S.  Urbane  on  the  hill  behind  (cf.  Nos.  48  and  81). 

81.  THE  SO-CALLED  TEMPLE  OF  BACCHUS,  NOW  THE  CHURCH  OF 
S.  URBAN.  INTERIOR.  61.  F.  752.  1767. 
Title :  Veduta  interna  dett  antico  Tempio  di  Bacco  in  oggi  Chiesa  di  S.  Urbano  due  miglia 
distante  da  Romafuori  di  porta  S.  Sebastiano. 

[16^  X  23|.]     Signed,  lower  r.  margin  :  Cavalier  Piranesi  disg.  ed  incise. 

I.  Before  added  shading.    B.M.    B.M.L.,  King's. 

II.  Heavy  shading  added,  e.g.  on  wall  behind  priest  on  1.  which  is  now  a  much  more  uniform 
black.    B.M.    Soane  (with  ii  II  in  MS.  lower  r.  margin).    TuBBS.     1st  Paris  Ed. 

III.  Number  61  lower  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  745  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

The  wall  decoration  consists  of  eleventh-century  paintings,  comparable  to  those  in  the 
lower  Church  of  S.  Clemente,  Rome. 


83.  THE  PANTHEON.     INTERIOR  OF  THE  PORTICO.     71.    F.  762.        1769. 

Title  :    Veduta  interna  del  Pronao  del  Panteon. 

[15^X21.]     Signed,  lower  r.  margin :  Cavalier  Piranesi  F. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  3  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  755  near  r.  margin  in  sky.    Ed.  Firmin-Didot,  Paris. 

83.   THE   TOMB   OF   THE   PLAUTII,    NEAR   THE    PONTE    LUCANO.     116. 
F.  783.  1761  (probably  between  1765  and  1769). 

Title  on  shaded  masonry  in  centre  below :   Veduta  degV  avanzi  del  sepolcro  delta  famiglia 
Plauzia  sulla  via  Tiburtina  vicino  at  ponle  Lugano  due  miglia  lontano  da  Tivoli. 
[i8|  X  24^.]     Signed,  towards  lower  1.  margin :  Cavalier  Piranesi  F. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  49  upper  r.    Intermed.  Paris  Ed. 

III.  Number  801  upper  r.    Ed.  Firmin-Didot,  Paris. 


63  THE  'VIEWS  OF  ROME' 

84.  THE  SO-CALLED  VILLA  OF  MAECENAS  AT  TIVOLI.  INTERIOR. 
121.  F.  770.  1767. 
Title,  on  scroll  lower  r. :  AUra  vedula  interna  delta  Villa  di  Mecenate  in  Tivoli. 

[i6|  X  23|.]     Signed,  lower  1.  of  scroll :  Cavalier  Piranesi  inc. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  54  upper  r.    Intermed.  Paris  £d. 

III.  Number  806  near  centre.    Ed.  Firmin-Didot,  Paris. 

Built  over  the  High  Road  from  Rome  to  Tivoli.     See  No.  65. 

85.  HADRIAN'S  VILLA.  REMAINS  OF  THE  SMALLER  PALACE  (FORMERLY 
CALLED  THE  TEMPLE  OF  APOLLO).  136.  F.  771.  1768. 
Title,  on  stone  work  towards  lower  r. :  Avanzi  del  Tempio  detto  di  Apollo  nella  Villa  Adriana 
vicino  a  livoli. 

[18^  X  24|.]     Signed,  in  work  towards  1. :  Cavalier  Piranesi  inc. 

I.  Before  added  lines,  the  signature  having  a  clear  white  space  above  it.    B.M. 

II.  Lines  of  shading  added  on  ground,  coming  close  down  above  signature.  B.M.  B.M.L., 
King's.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  69  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  821  upper  r.     Ed.  Firmin-Didot,  Paris. 

Now  generally  called  the  Accademia,  but  most  probably  a  smaller  Palace.  The  titles 
I  have  given  for  the  different  parts  of  Hadrian's  Villa  in  this  and  Nos.  90,  93,  94,  112, 113, 
131,  132,  133,  and  134,  correspond  to  those  given  in  (1)  Hermann  Winnefeld,  Die  Villa 
des  Hadrian  bei  Tivoli,  Jahrbuch  des  Deutsch.  Archaeologisch.  Instituts  1895  (Erganzungs- 
heft  III),  and  (2)  Rodolfo  Lanciani,  La  Villa  Adriana,  Guida  e  Descrizione,  Rome,  1906. 

86.  THE  PANTHEON.  INTERIOR.  72.  F.  763.  1768. 
Title  :    Veduta  interna  del  Panleon. 

[i8|x  22.]     Signed,  lower  r.  margin :  Caval.  Piranesi  F. 

I.  Before  added  lines  of  shading.    B.M. 

II.  Vertical  lines  of  shading  added  on  extreme  1.,  the  ends  of  these  lines  just  invading  the 
margin  of  the  print ;  shadows  added  in  various  other  places,  e.  g.  along  rafters  above,  and  to  r. 
and  1.  between  the  capitals.    B.M.    B.M.L.,  King's.    Soane.    Tubes,     ist  Paris  Ed. 

III.  Number  5  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  757  in  sky  light.    Ed.  Firmin-Didot,  Paris. 

In  the  later  Paris  editions  this  plate  comes  after  my  No.  136  (the  other  view  of  the 
Interior  of  the  Pantheon,  by  Francesco  Piranesi).  The  Catalogue  of  1792  does  not 
distinguish  the  titles,  but  in  the  old  bound  copies  in  the  Soane  and  Lansdowne  collections 
the  present  plate  came  as  No.  72,  that  of  Francesco  as  No.  73. 

87.  S.  MARIA  MAGGIORE.    INTERIOR.     16.    F.  728.  1768. 
Title,  on  scroll  towards  1.  below :    Veduta  interna  delta  Basilica  di  S.  Maria  Maggiore. 
[16^  X  26|.]     Signed,  lower  r.  of  scroll :  Caval.  Piranesi  inc. 

I.  Before  rework.    B.M.    Cotswold  Gallery  (1922). 


CATALOGUE  63 

II.  Heavier  biting,  and  perhaps  graver  work  to  darken  shadows  (e.g.  along  the  cornice  beneath 
reliefs  1.  above  columns,  on  columns,  and  around  the  statue  of  pope  1.).  B.M.L.,  King's.  Soanb. 
TuBBS.    1st  Paris  Ed. 

III.  Number  16  towards  r.  below.    Intermed.  Paris  Ed. 

IV.  Number  700  towards  r.  below.    Ed.  Firmin-Didot,  Paris. 

88.  S.  GIOVANNI  IN  LATERANO.  INTERIOR.  13,  F.  726.  1768. 
Title,  on  scroll  towards  1.  below:    Veduta  interna  della  Basilica  di  S.  Giovanni  Later ano. 

[i  7  X  26J.]     Signed,  lower  r.  margin :  Cavaliere  Piranesi  inc. 

I.  Before  added  work.    B.M. 

II.  Horizontal  line  of  shading  added  on  panel  of  leaf-ornament  on  pier  in  foreground  r.  B.M . 
B.M.L.,  King's.    Tubes. 

III.  Numbers  2  IV  added  on  scroll.    SoANE.    Tubes,    ist  Paris  Ed. 

IV.  Number  13  lower  r.  margin.    Intermed.  Paris  Ed. 

V.  Number  697  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

89.  THE  VILLA  ALBANL  44.  F.  853.  1769. 
Title,  on  wall,  1.  below:  Veduta  della  Villa  delt  Emo  Sig'  Card.  Alessandro  Albani fuori 
di  Porta  Salaria. 

[17I X  27^.]     Signed,  lower  1.  margin :  Cavalier  Piranesi  inc. 

I.  B.M.    B.M.L.,  King's.    Soane.    Tubes,     ist  Paris  Ed. 

II.  Number  44  lower  r.  margin.     Intermed.  Paris  Ed. 

III.  Number  728  upper  r.     Ed.  Firmin-Didot,  Paris. 

90.  HADRIAN'S  VILLA:  THE  CANOPUS.  133.  F.  844.  1768. 
Title,  in  compartment  in  centre  below:  Avanzi  Del  Tempio  del  Dio  Canopo  nella  Villa 
Adriana  in  Tivoli. 

[17I X  23.]     Signed,  lower  1.  margin  :  Cavaliere  Piranesi  delin.  e  inc. 

I.  Before  added  work.     B.M. 

II.  Rebiting,  and  further  work  with  graver  (e.g.  in  vault  of  temple,  and  on  masonry  in  fore- 
ground).   B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  66  upper  r.  margin.     Intermed.  Paris  Ed. 

IV.  Number  818  upper  r.    Ed.  Firmin-Didot,  Paris. 

91.  THE  SO-CALLED  TEMPLE  OF  HERCULES,  AT  CORI.  64.  F.  784.  1769. 
Title,  on  stone  towards  I.  below :  Veduta  del  Tempio  di  Ercole  nella  Citth  di  Cora,  died 
miglia  lontano  da  Velletri. 

[15I X  2o|.]     Signed,  lower  r.  margin :  Cavalier  Piranesi  delin.  e  inc. 

I.  Before  added  work  in  sky,  &c.     B.M. 

II.  Dark  work  added  in  sky  near  centre  above:  further  heavy  shading  (crossed  lines)  on 
masonry  near  r.  margin.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  64  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  748  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 


64  THE  'VIEWS   OF   ROME' 

93.  THE  SMALL  WATERFALL  AND  RAPIDS  AT  TIVOLL    126.   F.780.     1769. 
Title  on  stone  lower  r. :   Veduta  delle  Cascatelle  a  Tivoli. 
[i8|xa7f.]     Signed,  lower  1.  margin :  Cavalier  Pirantsi  del  e  inc. 

\.  Before  numbers.    B.M.    SOANE. 

II.  Numbers  on  cartouche,  30  1.,  126  r.    Tubes.    1st  Paris  Ed. 

III.  Number  59  upper  r.     Intermed.  Paris  Ed. 

IV.  Number  811  upper  r.    Ed.  Firmin-Didot,  Paris. 

93.  HADRIAN'S  VILLA:  THE  CENTRAL  ROOM  OF  THE  LARGER 
THERMAE.  135.  F.  785.  1770. 
Title  on  cartouche  below  towards  r. :  Ravine  d'una  Galleria  di  Stalue  nella  Villa 
Adriana  a  Tivoli. 

[17I  X  23.]     Signed,  lower  I.  margin :  Cavalier  Piranesi  del  e  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubbs.    ist  Paris  Ed. 

II.  Number  68  upper  r.  above.     Intermed.  Paris  Ed. 

III.  Number  820  beneath  arch  in  light  towards  r.  above.    Ed.  Firmin-Didot,  Paris. 

There  is  a  large  red-chalk  drawing  of  this  subject  taken  from  a  slightly  different  point 
of  view  in  the  collection  of  Mr.  Percy  B.  Tubbs,  probably  an  original  study  discarded  in 
favour  of  the  treatment  as  in  the  present  etching.  Mr.  Tubbs  also  possesses  four  other 
drawings  of  the  same  style  representing  Hadrian's  villa,  one  only  being  carried  out  in 
etching,  i.  e.  No.  94  (see  Grahame  B.  Tubbs,  Architectural  Review,  May  1922,  and  corre- 
spondence, June  and  July). 

94.  HADRIAN'S  VILLA:  THE  SO-CALLED  POECILE.  127.  F.  824.  1770. 
Title  towards  r.  below :  Veduta  degli  Avanzi  del  castro  Pretoria  nella  Villa  Adriana  a 
Tivoli. 

[i4f  X  25I.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  delin.  ed  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Numbers,  30  lower  I.,  127  near  centre,  below.    SoANE.    Tubbs.     1st  Paris  Ed. 

III.  Number  60  upper  r.  margin.     Intermed.  Paris  Ed. 

IV.  Number  812  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

There  is  a  large  red  chalk  drawing,  possibly  an  original  study  for  this  subject,  in  the 
collection  of  Mr.  Percy  B.  Tubbs  (see  note  to  No.  93). 

95.  THE  FORUM  OF  NERVA;  WITH  THE  TWO  HALF-BURIED  CORIN- 
THIAN COLUMNS.  96.  F.  750.  1770. 
Title  on  stone  lower  1. :    Veduta  degli  Avanzi  del  Foro  di  Nerva. 

[i8|  X  27|.]     Signed,  lower  r. :  C.  Piranesi/. 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Numbers  21  II  in  cartouche.    Soane.    Tubbs.     ist  Paris  Ed. 

III.  Number  28  upper  r.     Intermed.  Paris  Ed. 

IV.  Number  780  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  65 

96.  THE  ARCH  OF  JANUS  (JANUS  QUADRIFRONS)  WITH  THE  ARCH  OF 
THE  MONEYCHANGERS.  92.  F.  825.  1771. 
Title  on  stone  towards  r.  of  centre  below  :  Tempio  detto  volgarm^'  di  Giano. 

[18^  X  27|.]     Signed,  just  to  right  of  centre  below :  Cavalier  Piranesi  del.  e  inc. 

I.  Before  numbers.    B.M.L.,  King's.    Tubes. 

II.  Numbers  XX.  92  in  cartouche.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  24  upper  r.     Intermed.  Paris  Ed. 

IV.  Number  776  upper  r.    Ed.  Firmin-Didot,  Paris. 

97.  THE  ARCH  OF  CONSTANTINE.  93.  F.  757.  1771. 
Title  on  stone  lower  r. :   Veduia  delPArco  di  Costaniino. 

[i8|  X  27^.]     Signed,  lower  1.  margin :  Cavaliere  Piranesi  del.  ed  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes.    1st  Paris  Ed. 

II.  Number  25  upper  r.     Intermed.  Paris  Ed. 

III.  Number  777  upper  r.    Ed.  Firmin-Didot,  Paris. 

98.  THE  ARCH  OF  TITUS  WITH  THE  CASINO  FARNESE  ON  THE  LEFT. 
91.  F.  755.  1771. 
Title  on  cartouche  near  centre  below  :   Veduia  deir  Arco  di  Tito. 

[i8|  X  27-g.]     Signed,  lower  1.  margfin :  Cavalier  Piranesi  del.  e  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Numbers  II.  91  on  cartouche.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  23  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  775  upper  r.    Ed.  Firmin-Didot,  Paris. 

99.  THE  ARCH  OF  SEPTIMIUS  SEVERUS.  89.  F.  754.  177a. 
Tide  on  stone  towards  r.  below :   Veduia  dell' Arco  di  Setlimio  Sever 0. 

[i8f  X  2  7b-]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  del.  e  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  21  upper  r.  margin.     Intermed.  Paris  Ed. 

III.  Number  773  upper  r.    Ed.  Firmin-Didot,  Paris. 

100.  THE  FORUM  ROMANUM,  OR  CAMPO  VACCINO,  WITH  THE  TEMPLE 
OF  ANTONINUS  AND  FAUSTINA  IN  THE  FOREGROUND  L.,  THE  TEMPLE 
OF  CASTOR  AND  POLLUX,  FOREGROUND  R.,  AND  THE  COLOSSEUM  IN 
THE  DISTANCE.  82.  F.  748.  1772- 
Title  in  centre  below :    Veduia  di  Campo  Vaccina. 

[i8|X27|.] 

I.  Before  numbers.     B.M. 

II.  Numbers  beneath  title  near  centre  of  lower  margin,  18  I  (1.),  82  (r.).  Soane.  Tubes. 
1st  Paris  Ed. 

III.  Number  14  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  766  towards  upper  r.     Ed.  Firmin-Didot,  Paris. 

F 


66  THE  'VIEWS  OF  ROME' 

101.  ST.  PETER'S  WITH  FORECOURT  AND  COLONNADES.  4,  F.721.    1772. 
Title  on  scroll  towards  r.  below :   Vedula  della  Gran  Piazza  e  Basilica  di  S.  Pietro. 
[18  X  27|.]     Signed,  on  scroll :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.L.,  King's.    Soani.    Tubes.    1st  Paris  Ed. 

II.  Number  4  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  688  upper  r.    Ed.  Firmin-Didot,  Paris. 

loa.  ST.  PETER'S.    INTERIOR:  BENEATH  THE  DOME.    6.    F.  722.       1773. 
Title  in  cartouche  centre  below ;    Vedula  inlerna  della  Basilica  di  S.  Pietro  in   Valicano 
vicino  alia    Tribune. 
[19JX  26|.]    Signed,  in  cartouche  :  Caval.  Piranesi  F. 

I.  Before  numbers.    B.M.L.,  King's. 

II.  Numbers  on  cartouche,  2  V  after  signature ;  and  6  r.  of  cartouche.  Soane.  Tt;BBS. 
1st  Paris  Ed. 

III.  Additional  number  6  in  upper  margin  towards  r.  Intermed.  Paris  Ed.  Ed.  Firmin-Didot, 
Paris. 

This  plate  comes  as  No.  690  (unnumbered)  in  Ed.  Firmin-Didot. 

103.  THE  PIAZZA  DEL  QUIRINALE,  WITH  THE  STATUES  OF  THE  HORSE- 
TAMERS  SEEN  FROM  THE  BACK.  25.  F.  732.  1773. 
Title,  on  scroll  towards  1.  below  :    Vedula  della  Piazza  di  Monte  Cavallo. 

[i8|X27j.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  del.  e  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubbs. 

II.  Numbers  25  lower  r.  work,  4  II  lower  r.  of  scroll.    TuBBS.     1st  Paris  ed. 

III.  Additional  number  25  lower  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  709  in  sky  towards  r.  above.    Ed.  Firmin-Didot,  Paris. 

104.  THE  FONTANA  DI  TREVI.  FRONT  VIEW.  34.  F.  734.  1773. 
Title :  Vedula  in  prospettiva  della  gran  Fontana  delT  Acqua  Vergine  delta  di  Trevi  Architettura 
di  Nicola  Salvi. 

[i8-J  X  27g.]     Signed,  lower  1.  margin :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes.    1st  Paris  Ed. 

II.  Number  34  lower  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  718  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

Shows  the  Fountain  with  statues  as  they  now  appear.  See  No.  19  in  its  earlier  states  for 
earlier  versions  of  the  statues. 

105.  THE  VILLA  D' ESTE,  TIVOLL  46.  F.  826.  1773. 
Title  on  stone  towards  1.  below :   Vedula  della  Villa  Estense  in  livoli. 

[i8fX27|^.]     Signed,  lower  r. :  C.  Piranesi  inc. 

I.  Before  numbers.    B.M.L.  King's.     Soane  (with  7  added  in  MS).    Tubes,    ist  Paris  Ed. 

II.  Number  46  upper  r.    Intermed.  Paris  Ed 

III.  Number  730  upper  r.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  67 

106.  TEMPLE   OF   THE    CAMENAE    (ALSO   CALLED   TEMPLE   OF  DEUS 
REDICULUS).     62.    F.  827.  1773. 
Title  on  cartouche  lower  1. :    Veduta  del  Ttmpio  delk  Camene  anttcamenle  circondaio  da  un 
bosco  tiella  valle  di  Egeria,  si  vedefiiori  di  Porta  Latina  nella  valU  delta  la  Gaffarella. 
[i8|x  27|.J     Signed,  lower  1.  margin :  Cavalier  Piranesi  del.  e  inc. 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Number  II  added  in  cartouche  lower  1.    SOANE.    TuBBS.     ist  Paris  Ed. 

III.  Number  62  upper  r.  margin.     Intermed.  Paris  Ed, 

IV.  Number  746  upper  r.    Ed.  Firmin-Didot,  Paris. 
Probably  a  tomb  of  unknown  designation. 

107.  THE  PALAZZO  FARNESE.  37.  F.  828.  1773 
Title  on  scroll,  towards  1.  below :   Veduta  del  Palazzo  Farnese. 

[16  J  X  25|.]     Signed,  lower  1.  margin  :   Cavalier  Piranesi  F- 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  number  37  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  721  upper  r.    Ed.  Firmin-Didot,  Paris. 

108.  THE  PIAZZA  NAVONA,  WITH  S.  AGNESE  ON  THE  LEFT.  29. 
F.  733-  '773- 
Title  on  scroll,  lower  r. :    Veduta  di  Piazza  Navona  sopra  le  rovine  del  Circo  Agonale. 

[i8|  X  27^.]     Signed,  on  scroll :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Numbers  added  on  scroll,  4  II  (1.)  and  29  (r.).    Soane.    Tubes.    1st  Paris  Ed. 

III.  Additional  number  29  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  713  upper  r.    Ed.  Firmin-Didot,  Paris. 

109.  THE  TEMPLE  OF  SATURN,  WITH  A  CORNER  OF  THE  ARCH  OF 
SEPTIMIUS  SEVERUS  IN  THE  FOREGROUND.  80.  F.  829.  1774. 
Title  on  cartouche,  towards  1.  below :    Veduta  del  Tempio  detto  della  Concordia. 

[i8|  X  27^.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Tubes,    ist  Paris  Ed. 

II.  Number  12  upper  r.    Intermed.  Paris  Ed. 

III.  Number  764  upper  r.    Ed.  Firmin-Didot,  Paris. 

Erroneously  described  by  Piranesi  as  a  Temple  of  Concord. 

no.    THE    TEMPLE    OF    SATURN,    WITH    THE    ARCH     OF    SEPTIMIUS 

SEVERUS  IN  THE  BACKGROUND.     81.    F.  830.  1774. 

Title  on  cartouche,  lower  1. :    Altra  veduta   degli  avanzi  del  Pronao  del  Tempio   della 

Concordia. 

[18^  X  27^.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.  King's.    Soane.    Tubes.    1st  Paris  Ed. 

II.  Number  13  upper  r.    Intermed.  Paris  Ed. 

III.  Number  765  upper  r.    Ed.  Firmin-Didot,  Paris. 

F  a 


68  THE   'VIEWS   OF   ROME' 

HI.  THE  PIAZZA  DEL  CAMPIDOGLIO.     76.     F.  746.  1774. 

Title  on  scroll  towards  r.  below :    Veduta  delta  Piazza  del  Campidoglio. 
[17  J  X  87.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.L.,  King's.    Soane.    Tubes,     ist  Paris  Ed. 

II.  Number  8  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  760  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

113.  HADRIAN'S  VILLA  :  THE  APSE  OF  THE  SO-CALLED  HALL  OF  THE 
PHILOSOPHERS.     128.    F.  831.  1774. 

Title  on  cartouche  near  centre  below:  Avanzi di  una  Sola  appartemnte  al  Castro  Pretoria 
nella  Villa  Adriana  in  Tivoli. 
[17J  X  22^.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubbs.    1st  Paris  Ed. 

II.  Number  61  upper  r.  margin.     Intermed.  Paris  Ed. 

III.  Number  813  upper  r.    Ed.  Firmin-Didot,  Paris. 

Erroneously  described  by  Piranesi  as  a  Room  belonging  to  the  Barracks  of  the 
Pretorian  Guard. 

113.  HADRIAN'S  VILLA:  REMAINS  OF  THE  SO-CALLED  PRETORIO. 
132.  F.  832.  1774. 
Title  on  cartouche  in  centre  below :  Rovina  di  uno  degli  allogianunti  de'  Soldati  presso 
ad  una  delle  eminentifahbriche  di  Adriano  nella  sua  Villa  in  Tivoli. 

[17^X25 J,]     Signed,  lower  1.  margin :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  65  upper  r.    Intermed.  Paris  Ed. 

III.  Number  817  upper  r.    Ed.  Firmin-Didot,  Paris. 

114.  THE  BASILICA  OF  CONST ANTINE  :  WITH  A  STREET  SEEN 
THROUGH  ARCHES  ON  THE  LEFT.  87.  F.  751.  1774. 
Title  on  cartouche  lower  r. :  Veduta  degli  avanzi  del  tablino  della  Casa  aurea  di  Nerone 
detti  volgarmente  il  Tempio  della  Pace, 

[19X27I.]     Signed,  lower  1.  margin  :  Cavalier  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Numbers,  19.  II.  lower  1.  87  lower  r.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Additional  numbers  19  upper  r.     Intermed.  Paris  Ed. 

IV.  Number  771  above  towards  r.    Ed,  Firmin-Didot,  Paris. 

The  building  is  now  sometimes  called  the  Basilica  of  Maxentius  (see  No.  45). 

115.  THE  BATHS  OF  DIOCLETIAN:  INTERIOR  OF  FRIGIDARIUM, 
SOUTH  WALL.  105.  F.  833.  i774- 
Tide  :    Veduta  degli  avanzi  superiori  delle  Terme  di  Diocleziano. 

[i7^X  2  7  J.]     Signed,  in  work  lower  r. :  Caval.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's     Soane.    Tubes,    ist  Paris  Ed. 


CATALOGUE  69 

II.  Number  38  upper  r.     Intermed.  Paris  Ed. 

III.  Number  790  upper  r.    Ed.  Firmin-Didot,  Paris. 

I  give  Nos.  115  and  116  in  the  reverse  order  to  my  list  in  the  Burlington  Magazine, 
Feb.  1 91 4.  The  titles  in  the  engraved  catalogues  and  the  printed  Catalogue  of  1792  are 
the  same,  so  give  no  clue.  The  present  order  follows  that  of  the  Soane  copy  of  the  Vedute, 
and  the  Paris  Editions. 

116.  THE  BATHS  OF  DIOCLETIAN,  SHOWING  THE  CHURCH  OF 
S.  MARIA  DEGLI  ANGELI  AND  THE  PIAZZA.  107.  F.  834.  1774. 
Title  on  cartouche,  towards  1.  below :  Vedula  degli  avanzi  superiori  delle  Terme  di 
DiocUtiano. 

[i8f  X  27I.]     Signed,  lower  1.  margin :  Cavalier  Firanesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  40  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  792  upper  r.    Ed.  Firmin-Didot,  Paris. 

117.  THE  PIAZZA  AND  BASILICA  OF  S.  GIOVANNI  IN  LATERANO  (SIDE 
FACADE):  WITH  THE  OBELISK,  PALACE,  AND  SCALA  SANTA  ON  L.     11. 

F-  725-  1775- 

Title  on  scroll  lower  r. :    Vedula  della  Piazza  e  Basilica  di  S.  Giovanni  in  Laterano. 
[19^x27^.]     Signed,  lower  1. :  Cavalier  Firanesi  F, 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Numbers  2.  II.  added  on  scroll  r.    Soane.    Tubes.    1st  Paris  Ed. 

III.  Number  ii  upper  r.  margin.     Intermed.  Paris  Ed. 

IV.  Number  695  near  centre  on  r.    Ed.  Firmin-Didot,  Paris. 

The  only  one  of  Piranesi's  four  views  of  S.  Giovanni  in  Laterano  showing  the 
Baptistery. 

118.  THE  AQUEDUCT  OF  NERO  LEADING  TO  THE  PALATINE ;  A  BRANCH 
OF  THE  AQUA  CLAUDIA.  48.  F.  850.  1775. 

Title  on  cartouche  in  centre  foreground :  Avanzi  degt  Aquedotti  Neroniani  .  .  . 
[19J  X  27I.]     Signed,  lower  1. :  Cavalier  Firanesi  F. 

I.  Before  numbers.     B.M. 

II.  Number  48  added  on  cartouche.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Additional  number  48  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  732  upper  r.     Ed.  Firmin-Didot,  Paris. 

119.  THE  PORTA  MAGGIORE,  ORIGINALLY  AN  ARCHWAY  OF  THE 
AQUA  CLAUDIA  AND  THE  ANIO  NOVUS.  49.  F.  839.  1775. 
Title,  on  cartouche  in  centre  below :  Vedula  del  Monumento  erelto  dalt  Imperador  Tito 
Vtspasiano per  aver  ristaurati gt  Aquedotti  .  .  . 

[19I X  2  7|.]     Signed,  lower  1.  margin :  Cavalier  Firanesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes.    1st  Paris  Ed. 


70  THE   'VIEWS  OF   ROME' 

II.  Number  49  upper  r.    Intermed.  Paris  Ed. 

III.  Number  733  upper  r.    Ed.  Firmin-Didot,  Paris. 

The  smaller  arches  built  by  Arcadius  and  Honorius,  within  the  two  main  arches  of  the 
gate,  have  been  cleared  away. 

lao.  ST.    PETER'S,   WITH   FORECOURT    AND    COLONNADES.     BIRD'S-EYE 
VIEW.     2.     F.  720.  1775- 

Title  :    Veduta  dell'  insigne  Basilica  Vadcana  colt  ampio  Portico,  e  Piazza  adjacmie. 
[i8|  X  27g.]     Signed,  lower  r. :  Cavaliere  Piranesi  delin.  ed  inc. 

I.  Before  numbers.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  2  upper  r.  margin.     Intermed.  Paris  Ed. 

III.  Additional  number  686  upper  r.    Ed.  Firmin-Didot,  Paris. 

A  similar  bird's-eye  view  was  etched  by  Giovanni  Battista  Falda  (d.  1678)  and  published 
by  Gian  Giacomo  de'  Rossi  in  the  second  half  of  the  seventeenth  century.  Piranesi  may  quite 
possibly  have  used  it  in  his  plate,  but  the  detail  is  treated  quite  differently,  and  many  of  the 
buildings  at  the  side  are  entirely  changed. 

121.    THE    ISOLA   TIBERINA,   WITH    S.   BARTOLOMMEO    IN    THE    FORE- 
GROUND.    56.     F.  836.  1775- 
Title,  on  scroll  in  centre  below :    Veduta  delF  Isola  Tiberina. 
[iB|  X  28.]     Signed,  on  scroll  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubbs.    ist  Paris  Ed. 

II.  Number  56  upper  r.  margin.     Intermed.  Paris  Ed. 

III.  Number  740  towards  upper  r.    Ed.  Firmin-Didot,  Paris. 

laa.  S.  GIOVANNI  IN  LATERANO :  NEAR  VIEW  OF  MAIN  FAQADE,  WITH 

THE  CAMPAGNA  ON  L.     14.     F.  724.  1775. 

Title,  in  cartouche  towards  1.  below :   Veduta  delta  Facciata  delta  Basilica  di  S,  Giovanni 

Laterano 

[19J  X  27^0     Signed,  on  cartouche  r. :  Cav.  Gio.  Batla  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane. 

II.  Numbers  V.  14  added  on  cartouche.    Tubbs.     ist  Paris  Ed. 

III.  Additional  number  14  lower  r.  margin.     Intermed.  Paris  Ed. 

IV.  Number  698  upper  r.    Ed.  Firmin-Didot,  Paris. 

laa.  THE  BATHS  OF  TRAJAN  (ERRONEOUSLY  CALLED  BATHS  OF  TITUS). 
BIRD'S-EYE  VIEW.     108.     F.  837.  1775. 

Title,  on  scroll  near  centre  below :    Veduta  delle  Terme  di  Tito. 
[19x271,]     Signed,  lower  1.  margin  :  Cav,  Piranesi  F. 

I.  Before  numbers.    B.M.L.,  King's.    Soane.    Tubbs.    ist  Paris  Ed. 

II.  Number  41  upper  r.    Intermed.  Paris  Ed. 

III.  Number  793  upper  r.    Ed.  Firmin-Didot,  Paris. 


CATALOGUE  71 

134.  THE  VILLA  PAMPHILI.    45.    F.  840.  1776. 

Title  on  scroll  in  centre  below  .•   Villa  Panfili. 

[19I X  2  7|.]     Signed,  on  scroll  r. :  Cav.  Piramsi  F. 

I.  Before  numbers.    B.M.L.,  King's.    Soane.    Tubes.    1st  Paris  Ed. 

II.  Number  45  upper  r.    Intermed.  Paris  Ed. 

III.  Number  729  upper  r.    Ed.  Firmin-Didot,  Paris. 

185.  THE  TIBER  AT  THE  MOUTH  OF  THE  CLOACA  MAXIMA  (FORMERLY 
CALLED  THE  BEL  LIDO),  WITH  THE  ROUND  TEMPLE  AND  S.  MARIA  IN 
COSMEDIN  IN  THE  BACKGROUND.     57.     F.  841.  1776. 

Title  :    Veduta  delle  antiche  Sostruzioni  fatte  da  Tarquinio  Superbo  delte  il  Bel  Lido,  0  come 
aliri  erette  da  Marco  Agrippa  a' tempi  di  Auguslo,  in  occasione,  che  Eglifece  ripurgare  tutte  le 
Cloache  fin  al  Tevere. 
[17^  X  26J.]     Signed,  lower  r.  margin  :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubbs.    ist  Paris  Ed. 

II.  Number  57  lower  r.  margin.     Intermed.  Paris  Ed. 

III.  Number  741  upper  r.    Ed.  Firmin-Didot,  Paris. 

ia6.  THE  COLOSSEUM.     BIRD'S-EYE  VIEW.     98.    F.  759.  1776. 

Title,  on  scroll  lower  1. :    Veduta  delt  Anfiteatro  Flavio  detto  il  Colosseo. 
[19  J  X  28|.]     Signed,  on  scroll  lower  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Numbers  22  II  and  98  on  scroll  r.    Soane.    Tubes.    1st  Paris  Ed. 

III.  Number  30  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  782  upper  r.    Ed.  Firmin-Didot,  Paris. 

lay.  THE  BATHS  OF  TRAJAN  (ERRONEOUSLY  CALLED  BATHS  OF  TITUS). 
109.    F.  838.  1776. 

Title,  on  cartouche  near  centre  below  :    Veduta  degli  Avanzi  delle  Fabhriche  del  secondo 
Piano  delle  Terme  di  Tito. 
[19^  X  27|.]     Signed,  on  cartouche  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's. 

II.  Numbers  II  109  on  cartouche.    Soane.    Tubes,    ist  Paris  Ed. 

III.  Number  42  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  794  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

128.  THE  PALAZZO  VIDONI  (FORMERLY  THE  PALAZZO  STOPPANI).  41. 
F.  842.  1776. 

Title,  on  scroll  below  towards  r. :   Veduta  del  Palazzo  Stopani. 
[i6fX26^.]     Signed,  on  scroll  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  41  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  725  upper  r.    Ed.  Firmin-Didot,  Paris. 


7a  THE  'VIEWS  OF  ROME' 

129.  S.  MARIA  DEGLI  ANGELI.  INTERIOR.  FORMERLY  THE  CENTRAL 
HALL  OF  THE  BATHS  OF  DIOCLETIAN.  106.  F.  835.  1776. 
Title,  on  cartouche  in  centre  below :  Veduta  interna  della  Chiesa  della  Madonna  degli 
Angioli  delta  della  Certosa  che  anticam?  era  la  principal  Sola  delle  Terme  di  Diocleziano. 

[19  X  2  8 J.]     Signed,  on  cartouche  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    Tubes. 

II.  Numbers  25  and  106  on  cartouche.    Soane.    Tubes,     ist  Paris  Ed. 

III.  Number  39  upper  r.    Intermed.  Paris  Ed. 

IV.  Number  791  on  window  upper  r.    Ed.  Firmin-Didot,  Paris. 

S.  Maria  degli  Angeli  was  built  by  Michelangelo  into  the  Baths  of  Diocletian. 

130.  THE  TOMB,  CALLED  LA  CONOCCHIA,  ON  THE  VIA  APPIA  NEAR 
CAPUA.  UPRIGHT  PLATE.  114.  F.  843.  1776- 
Title,  on  scroll  below  towards  r. :  Avanzi  di  un  aniico  Stpolcro  oggi  detto  la  Conocchia,  che 
si  vede  poco  lungi  dalla  Porta  di  Capua  per  andar  a  Napoli. 

[28Jxi8f.]     Signed,  on  scroll  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.L.,  King's.    Soane.    Tubes,     ist  Paris  Ed. 

I  J.  Number  47  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  799  above  towards  r.    Ed.  Firmin-Didot,  Paris. 

131.  HADRIAN'S  VILLA :  THE  CANOPUS.    INTERIOR.     134.    F.  845.     1776. 
Title,  on  scroll  towards  r.  below :  Interne  del  Tempio  d°  di  Canopo  nella  Villa  Adriana. 
[17IX23.]     Signed,  on  scroll  r. :  Cav.  Piranesi  F, 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  67  upper  r.  margin.     Intermed.  Paris  Ed. 

III.  Number  819  in  sky  near  centre  above.    Ed.  Firmin-Didot,  Paris. 

This  view  corresponds  to  the  lower  letter  B  (i.  e.  the  corridor  leading  back  from  centre 
of  apse)  in  view  No.  90. 

13a.  HADRIAN'S  VILLA:    THE  PIAZZA  D'ORO.     129.    F.  846.  1776. 

Title,  on  cartouche  near  centre  below:    Veduta  degli  Avanzi  della  Circonferenza  delle  antiche 
Fabbriche  di  una  delle  Piazze  della  Villa  Adriana  oggidi  chiamata  Piazza  doro. 
[i8|x  24f]     Signed,  lower  r.  margin.     Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Tubes. 

II.  Numbers  129  XXX.  lower  r.  work.    Soane.    Tubes,     ist  Paris  Ed. 

III.  Number  62  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  814  towards  r.  a  little  above  centre.    Ed.  Firmin-Didot,  Paris. 

133.  HADRIAN'S  VILLA :  THE  SO-CALLED  HELIOCAMINUS    (A  CHAMBER 
FOR  WINTER  HABITATION  HEATED  BY  THE  SUN).     130.    F,  847.     1777. 
Title,  on  scroll  lower  r. :    Veduta  di  un  Eliocamino  per  abitarvi  I'  Inverno,  il  quale  era 
riscaldato  dal  Sole  che  s'introduceva  per  le  Finestre. 
[i6|x  23I.]     Signed,  on  scroll  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,     ist  Paris  Ed. 

II.  Number  63  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  815  in  sky-light  near  centre  above.    Ed.  Firmim-Didot,  Paris. 


LIST   OYjr      CATALOGUE  73 

47  signed  by  Ei**^:    A  HALL  IN  THE  SO-CALLED  ACCADEMIA.     131. 

Blomfield  (wi*--  i777- 

liu-    ink  to^tfcuche  centre  below  :  Dieta,  0  sia  Luogo  che  dh  ingresso  a  due  diversi  grandiosi 
Cuiicoli,  e  ad  altre  magnifiche  Stanze,  esistente  nella  Villa  Adriana ;  in  oggi  posseduie  dal 
Sig.  Conle  Ftde. 
[  1 7^  X  2  2f .]     Signed,  on  cartouche  r. :  Cav.  Piranesi  F. 

I.  Before  numbers.    B.M.    B.M.L.,  King's.    Soane.    Tubes,     ist  Paris  Ed. 

II.  Number  64  upper  r.     Intermed.  Paris  Ed. 

III.  Number  816  above  in  light  of  arch  r.    Ed.  Firmin-Didot,  Paris. 

135.  THE  ARCH  OF  BENEVENTUM.     94.    F.  823.  1778. 
Title,  on  stone  lower  r. :    Veduia  dell'  Arco  di  Benevenio  nel  regno  di  Napoli. 
[i8|x28.]     Signed,  lower  1.  margin :  C.  Piranesi fece. 

I.  Before  numbers. 

II.  Numbers  20  (?)  lower  1.  margin,  94  lower  r.  margin.    Soane.    Tubes,     ist  Paris  Ed. 

III.  Number  26  upper  r.  margin.    Intermed.  Paris  Ed. 

IV.  Number  778  upper  r.     Ed.  Firmin-Didot,  Paris. 

In  the  engraved  catalogue  in  the  Bodleian  (No.  1 1  in  list  on  p.  6)  this  view  conies  as  the 
last  entry.  No.  107.  In  a  subsequent  edition  of  the  engraved  catalogue  (Soane  Museum, 
see  No.  12  in  list),  No.  107  is  altered  to  Del  Palazzo  Farnese  and  the  Arco  di  Benevento 
does  not  appear.  It  reappears,  however,  in  the  latest  edition  of  the  engraved  catalogue 
noted  in  the  list  (No.  1 3).  It  seems  probable  therefore  that  it  was  commenced,  or  at  least 
announced,  in  1773  (the  date  of  several  of  the  views  on  either  side  of  No.  107),  but  for  some 
reason  not  published  until  about  1780. 

136.  THE  PANTHEON.  INTERIOR.  BY  FRANCESCO  PIRANESL  73. 
[F.  after  822.]  1768  (?  error  for  1786). 
Title  :    Veduia  interna  del  Panteon  volgarmente  delta  la  Rotonda. 

[i8|  X  26^.]     Signed,  lower  1.  margin  :  Cav:  Francesco  Piranesi  disegnd  e  incise. 

I.  Before  numbers.    Soane.    Tubes,    ist  Paris  Ed. 

II.  Number  4  upper  margin.     Intermed.  Paris  Ed. 

III.  Numbers  756  and  259  upper  r.    Ed.  Firmin-Didot,  Paris. 

In  the  later  Paris  editions  this  view  precedes  my  No.  72.    The  catalogue  of  1792  might 
have  intended  the  same  order,  but  the  same  title  and  date  is  given  for  each  plate,  so  that  it 
is  impossible  to  decide.     They  are  placed  in  this  catalogue  in  order  of  production.     The 
date  1768  is  almost  certainly  an  error,  as  it  is  unlikely  that  Francesco  was  a  Cavalier e  at  th 
age  of  20. 

137.  THE  COLOSSEUM.  INTERIOR.  BY  FRANCESCO  PIRANESI.  137.  [F. 
after  823.]  1788. 
Title,  on  stone  lower  r. :   Veduta  interna  del  Colosseo. 

[Plate,  19^x28^;  work,  i8|x26|.]  Signed,  lower  r.  margin:  Franc. Piranesi  disegnh, 
e  incise. 

I.  Before  numbers.     Soane.     ist  Paris  Ed. 

II.  Number  33  upper  r.  margin.    Intermed.  Paris  Ed. 

III.  Number  785  upper  r.  margin.    Ed.  Firmin-Didot,  Paris. 


<F' 


~^RLY  THE  CENTRAL 

1776. 

Madonna  df'' 


V.     LIST   OF   G.    B.   PIRANESI'S    PUBLISHED   WORKS 

Arranged  chronologically,  later  issues  being  placed  before  their  date 
immediately  after  the  first  editions.  No  attempt  is  made  to  give  a  list  of  the 
prints  (beyond  collation  of  the  number  of  plates  in  each  publication)  except  in 
the  case  of  the  Antichita  Rotnane  de'  Tempi  della  Repubblica,  1748,  the  Varie 
Vedute  di  Roma,  1748,  and  the  Opere  Varie,  1750.  Indications  of  state  are  only 
occasionally  supplied.  On  the  other  hand,  the  plates  of  the  Carceri  and  Vedute 
di  Roma  are  fully  catalogued  in  other  sections  of  this  book. 

A  number  within  brackets,  in  relation  to  a  plate,  indicates  order  in  a  series, 
without  the  number  being  actually  engraved  on  the  plate. 

The  number  of  plates  given  in  the  list  generally  refers  strictly  to  the  series 
as  numbered  by  Piranesi.  The  single  plate  number  is  constantly  used  to  include 
two  or  more  prints  (from  different  coppers)  on  one  page.  So  that  the  actual 
number  of  copper-plates  etched  by  Piranesi  is  considerably  greater  than  the 
number  it  would  seem  to  be  by  adding  up  the  plate  numbers  given  in  the  various 
collations.  In  these  collations  PI.  Ill  (e.g.)  means  3  plates  (marked  with  Roman 
numerals)  just  as  pp.  4  (e.  g.)  means  4  pages  of  text.  Pp.  3  [4]  implies  fourth 
page  without  a  pagination. 

Head-  and  tail-pieces  and  initial  letters  in  the  text  are  etched  by  Piranesi. 

A  date  within  brackets  is  conjectural.  If  two  years  are  given,  it  implies  that 
the  first  date  is  cited  in  the  Catalogue  of  1793.  This  date  generally  denoting  the 
approbatio,  the  actual  publication  might  be  a  year  later. 

The  Paris  and  later  issues  are  not  described  in  the  list.  For  their  dates  see 
Introductory  Notes  to  the  Catalogue  of  the  '  Views  of  Rome '  at  p.  33. 

The  catalogues  referred  to  are  those  of  the  '  Chalcographie  Piranesi ',  edition 
179a  (British  Museum,  Print  Room),  and  edition  1800  (Soane  Museum).  The 
different  works  are  cited  according  to  their  volume  number  in  these  catalogues. 
For  fuller  description  of  these  catalogues  see  my  text  at  p.  4.  The  following 
abbreviations  are  used : 

F.  =  Focillon,  Essai  de  Catalogue  RaisonnL    Paris,  191 8. 

G.  =  Giesecke.  List  of  works  in  his  Giovanni  Battista  Piranesi  (Meister  der 
Graphik,  vi).     Leipzig,  191 1. 

The  locality  of  impressions  is  only  referred  to  in  the  case  of  rare  works. 


/ 


LIST   OF  PL^ANESrS   PUBLISHED  WORKS  ^S 

47  signed  by  VvcvArchitetture,  \  e  Prospettive  \  inventate  ed  incise  \  da  Gio.  Batta. 
Blomfield  {v/hb/ii/e/to  Veneziano  \  dedicate  \  al  Sig.  Nicola  Giobbe.  F.  1-13.  G.  I.  viii 
ink  to  /gtues  of  1792  and  1800).  Etched  title  (as  above) ;  pp.  4,  and  at  end:  In  Roma 
17^3  I  nella  Stamperia  de'  Fratelli  Pagliarini  |  Mercanti  Librari,  \  e  Stamfatori  a 
Pasquino  \  Con  Licenza  de'  Superiori  \  .  PI.  XIV  (or  XII  ?)  Rome,  Biblioteca  Corsiniana. 
Giesecke  describes  the  Corsini  copy  as  showing  in  its  list  of  contents  12  plates  beside 
title,  of  which  11  appeared  later  in  the  Opere  Varie,  Nos.  i,  2,  5,  6,  8,  9,  10,  11,  12, 
13,  14,  the  remaining  plate  (entitled  Atrio  dorico  in  the  list,  but  not  on  the  plate)  not 
being  republished.  [The  copy  actually  wants  4  plates.]  The  Catalogue  of  1792  refers  to 
the  whole  Opere  Varie  as  produced  in  1 742,  which  is  no  doubt  correct  in  relation  to  part 
of  those  which  appeared  in  this  early  edition.  A  separate  impression  of  a  second  state  of 
this  title-page  is  in  the  B.M. ;  the  whole  lettering  has  been  engraved  afresh  and  differs 
from  the  above  in  having  Giambatista  in  place  of  Gio.  Batta.,  and  Fra  gli  Arcadi 
Salcindio  Tiseio  between  Veneziano  and  dedicate.  It  is  definitely  shown  to  be  inter- 
mediate between  the  state  in  the  Corsini  and  that  found  in  the  Opere  Varie,  as  in  the 
latter  there  are  still  traces  of  the  0  of  Veneziano  and  the  e  of  Giobbe  in  the  position 
occupied  by  the  lettering  on  B.M.  imp.,  not  by  that  of  the  Corsini  state.  There  is  also 
in  B.M.  an  impression  of  the  top  part  of  one  of  the  early  states  (probably  later  than  the 
B.M.  2nd  state)  on  the  back  of  a  proof  before  letters  of  the  Ponte  di  Rimino  from  the 
Antichitd,  Romane  de'  Tempi  delta  Repubblica, 

1744.  ZocCHi,  Giuseppe,  Vedute  delle  ville  e  d'altri  luo^hi  delta  Toscana,  Florence  (appresso 
Giuseppe  Allegrini  Stampatore  in  Rante)  1744.  [2nd  edition,  appresso  Giuseppe  Bouchard 
Libraio  Francese  in  Firenze  1754.  3rd  edition,  appresso  Giuseppe  Bouchard  Stampatore 
in  Rome  Firenzeiy^?-]  Editions  1744  and  1754  in  the  Soane  Museum.  Ed.  1757, B.M.L. 
Contains  one  etching  by  Piranesi,  PI.  17,  La  Real  Villa  deW  Ambrogiana.  Etched  after 
Giuseppe  Zocchi.    F.  19.  G.  4. 

1748.  Antichitd  Romane  de"  Tempi  delta  Repubblica,  \  e  d^  primi  Imperatori,  \  disegnate,  ed 
incisi  da  Giambattista  Piranesi  \  Architetto  Veneziano  .  .  .  Roma  si  vende  dalP  Autore 
dirimpetto  V Accademia  di  Francia.  The  dedication  dated  1748.  F.  41-71.  G.  8.  x 
(Catalogue  of  1792),  viii  (Catalogue  of  1800).  30  plates  (including  etched  titles  to  parts 
I  and  II,  the  second  reading  AntichitA  Romane fuori  di  Roma . . .  Parte  seconda,  dedication 
plate,  and  two  plates  of  inscriptions).  The  same  passe-partout  border  used  with  the  first 
title,  dedication,  and  plates  of  inscriptions.  The  second  plate  of  inscriptions  gives  a  list 
of  28  plates,  which  does  not  include  the  second  title  or  the  Arco  di  Galieno  which  some- 
times appears,  unnumbered,  in  this  edition.  The  plates  (except  the  title-pages,  dedica- 
tion plate,  and  Arco  di  Galieno)  bear  arable  numerals :  the  first  view,  properly  No.  5, 
is  numbered  i  (and  generally  corrected  in  MS.) :  thereafter  6  to  28.  The  second  title- 
page  comes  before  i6,  Ponte  di  Rimino.  Pis.  13  and  14  are  after  etchings  by  Israel 
Silvestre.  The  views  are  oblongs  measuring  about  six  loj  in.  The  Catalogue  of  1792 
dates  the  work  as  1741,  but  between  1743-8  would  seem  the  more  likely  date  at  least 
for  the  production  of  the  majority  of  the  plates.  There  is  a  proof  before  letters  of  the 
Ponte  di  Rimino  (16)  in  the  B.M.  printed  on  the  back  of  the  top  part  of  the  second  state 
of  the  frontispiece  to  the  Prima  Parte  di  Architetture  (i.e.  between  1743  and  1750). 
This  edition  (with  earlier  title)  is  also  found  with  plates  reworked  as  in  later  edition. 
For  complete  list  of  plates,  see  under  later  edition. 


76  LIST   OF   PIRANESrS   PUBLIS/E' 

[Later  edition :  between  1778  and  1792].    Alcune  Vedute  di  ArcHJ^^^  THE  CENTRAL 
menti  \  inalioti  da  Romani  parte  de  quali  si  veggono  in  Roma,  ^T7^- 

Disegnati  ed  incisi  dal  Cavalier  \  Gio.  Battista  Piranesi  (earlier  i.  'Kadonna  rf"-i). 
F.  41-71.  G.  8  a.  X  (Catalogue  of  1792).  vni  (Catalogue  of  1800).  32  piai^^,  vwo  new 
plates  being  added,  i.  e.  Arco  di  Aosta  by  G.  B.  Piranesi  after  Sir  Roger  Newdigate,  and 
Temple  of  Minerva  Medico  by  Francesco  Piranesi.  The  Index  of  plates  on  PI.  4  is  not 
revised  to  correspond  to  the  new  order  of  the  subjects.  The  views  have  been  reworked. 
The  following  is  a  complete  list  of  the  plates  in  the  present  and  earlier  editions.  The 
first  numbers  are  those  of  the  present  and  later  editions ;  the  numbers  placed  after  the 
titles  are  those  of  the  earlier  edition  of  1748. 

1.  First  title,    (i.) 

2.  Dedication.    (2.)  With /a«tf-^a;'/ca/ border  in  1748  edition  only. 

3.  Inscriptions  on  Antiquities  in  Rome.  (3.)  With/rtjfe-/ar/<?M/border  in  1748  edition 

only. 

4.  Inscriptions  on  Antiquities  outside  Rome,  with  Index  of  Plates  (4).    With  passe- 

partout border  in  1 748  edition  only. 

5.  Arco  di  Aosta  (after  Sir  Roger  Newdigate).    Larger  plate,  not  in  the  1748  edition. 

6.  Parte  del  Foro  di  Nerva.     I  (generally  corrected  in  MS.  to  5). 

7.  Arco  di  Tito.    6. 

8.  Tempio  di  Giove  Tonante.    7  (now  known  as  Temple  of  Vespasian). 

9.  Arco  di  Costantino.    9. 

I  o.  Vestigjdel  Tempio  di  Giove  St  at  ore.   10  (now  known  as  Temple  of  Castor  and  PoUiuc). 

11.  Tempio  di  Giano.     11. 

12.  Anfiteatro  Flavio  detto  il  Colosseo.     12. 

13.  Arco  di  Settimio  Sever 0  (after  I.  Silvestre).     13. 

14.  Ponte  Senatorio  oggi  detto  Ponte  Rot  to  (after  I.  Silvestre).     14. 

15.  Foro  di  Augusta.     15. 

16.  Ponte  di  Rimino.     16. 

17.  Second  Title.    Not  numbered  in  edition  of  1748,  but  comes  after  15. 

18.  Sepolcro  delta  faiiiiglia  de  Sipioni  (s\c).     18. 
1<).  Arco  di  Druso.    8. 

20.  Arco  di  Rimino.     17. 

21.  Tempio  di  Pola.    21. 

22.  Rovescio  del  Tempio  di  Pola,    22. 

23.  Anfiteatro  di  Pola.    23. 

24.  Arco  di  Pola.    24. 

25.  Anfiteatro  di  Verona.     25. 

26.  Tempio  di  Clitumno  tra  Fuligno  e  Spoletti  (sic).     26. 
■i"].  Sepolcro  delli  trefratelli  Curiati  in  Albcino.    27. 

28.  Arco  di  Trajano  in  Ancona.    28. 

29  (engraved  22  in  error).    Sepolcro  di  Meiella  detto  Capo  di  Bove.    20. 

30.  Parte  deir  antica  Via  Appia.     19. 

31.  Arco  di  Galieno.    Sometimes  occurs,  unnumbered,  in  the  1748  edition. 

32.  Tempio  di  Minerva  Medica  (by  Francesco  Piranesi).    Larger  plate,  not  in  the 

1748  edition. 

1748.  Varie  Vedute  \  di  Roma  \  Antica,  t  Modema  \  Disegnate  e  Intaglia\te  da  celebri Autori\ 
in  Roma  1748  |  A  spesi  di  Fausto  Amideo  Libraro  al  Corso  \  (title  etched  by  Anesi). 
F.  72-119.    G.  10  (note).    Title,  and  93  (or  94?)  small  views  (size,  about  5x7^  in.), 


LIST   OF  PIRANESrS   PUBLISHED   WORKS  77 

47  signed  by  Piranesi  (including  several  by  Bellicard,  dated  1750),  Sir  Reginald 
Blomfield  (with  the  Fausto  Amideo  on  title  imperfectly  erased  and  altered  in  pen  and 
ink  to  lovanni  Bouchard:  title  and  89  views).  Giesecke  cites  this  edition  (but  with  title 
and  94  plates)  as  being  in  a  sale  catalogue  (Libreria  Antiquaria  Internationale,  Rome, 
Dec.  1910,  No.  322),  and  another  of  similar  title  but  date  1750  (with  79  plates  only, 
probably  imperfect)  as  No.  322  a  in  same  catalogue.  The  1748  on  title-page  of  Blomfield 
copy  is  inconsistent  with  date  1750  on  several  of  plates.  Dr.  Ashby  notes  that  seven  of 
the  plates  signed  by  Piranesi  appeared  in  G.  P.  '^0%'A'da,  Mercurio  errante  delle  Grandezze 
di  Roma.  Rome  (a  spese  di  Fausto  Amidei)  1750.  I  note  only  two  in  the  1760  edition 
of  the  same  book  (B.M.L.). 

[Later  edition:  1752].  Raccolte  \  di  Varie  Vedute  \  di  Roma  \  si  antica  che  moderna\ 
intagliate  la  jnagffior  parte  \  dal  celebre  \  Gianbalista  Piranesi  \  e  da  altri  incisori.  \  L^ 
sudette  sono  in  niitnero  di  novanta  tre,  \  e  si  vendono  in  Roma  \  Da  Giovanni  Bouchard  \ 
Librajo  al  Corso  Vicino  a  San  Marcello  \  Vignette  Tenpio  di  Bacco  ;  signed  F.  O.  Duflos 
del.  et  scul.  \  In  Roma,  MDCCLII  \  nella  Stamperia  di  Giovanni  Generoso  Salomon]  \ 
Con  licenza  de'  Superiori  \  .  F.  72-119.  G.  lo.  Soane  (bound  up  with  Le  Magnificenze 
di  Roma,  1751).  Manchester  (John  Rylands  Library).  B.M.L.,  appended  to  King's 
Library  copy  of  the  Opere  Varie  (92  of  the  plates  without  title).  48  of  the  plates  signed 
by  Piranesi.  These  48  plates  (unnumbered)  bear  the  following  titles  and  occur  in  the 
following  order  among  the  92  plates  of  the  B.M.L.  copy,  the  number  in  brackets  giving 
their  actual  place  in  the  complete  set. 

1  (5).  Archyginnasio  Romano. 

2  (7).  Chiesa  di  S.  Carlino. 

3  (8).  Aquadotti  delV  Acqua  Claudia. 

4  (9).    Veduta  di  S.  Giovanni  in  Laterano. 

5  (10).  Spelonca  delta  Ninfa  Egeria. 
6(11).   Veduta  dell'  Arco  di  Callieno. 

7  (12).   Veduta  del  Circo  Massimo. 

8  (13).  Palazzo  Barberini. 
9(15).   Veduta  di  Castel  S.  Angelo. 

10  (16).   Tempio  di  Minerva  Medica. 

11  (17).   Veduta  di  Villa  Ludovisi. 

12  (18).  Circo  di  Caracalla. 

13  (19)-   Veduta  di  Belvedere  in  Vaticano. 

14  (20).  Arco  di  Nerone  Drtiso. 

15  (25).  Anfiteatro  Castrense  a  S.  Croce  in  Gerusalemme. 

16  (26).  Fontana  dell'  acqua  Paola. 

17  (27).    Veduta  della  Villa  Medici. 

18  (28).   Veduta  della  Villa  Panfili. 

19  (30).  Tempio  di  Giunone  Regina. 

20  (31).  Veduta  della  Chiesa  ed  Ospedale  di  Santo  Spirito. 

21  (34).   Tempio  di  Venere,  e  Cupido. 

22  (35).   Tempio  della  For  tuna  Virile. 

23  (37)-   Veduta  della  Fontana  d' Acqua  Felice. 

24  (38).  Chiesa  del  Gesii. 

25  (39)-  S.  Stefano  Roiondo. 

26  (40).  Chiesa  di  S.  Andrea  della  Valle. 

27  (41).  Palazzo  dell'  Accademia  di  Francia. 


78 


LIST  OF  PIRANESrS  PUBLISHED  WORKS 


28  (42).  Santa  Maria  in  Vallicella. 

29  (43)-   Vestigie  della  vecchia  Curia  Ostilia. 

30  (44),  Palazzo  del  Duca  di  Bracciano  Odesckalchi. 

31  (53).   Veduta  del  Palazzo  Panfilio. 

33  (56).  Tempio  di  Venere  appresso  il  Circo  Apollinare. 

33  (59)-  Palazzo  della  Cancelleria, 

34  (66).  Piramide  di  Caio  Cestio. 

35  (67).  Arco  di  Seltimo  Severe. 

36  (77).   Vestigie  delle  Ternte  d'  Antonino  Caracalla. 

37  (79).  Veduta  della  Chiesa  di  S.  Sebastiano  fuori  delle  Mura. 

38  (80).  Palazzo  de  i  Duchi  Mattel, 

39  (81).  Collegia  di  Propaganda  Fide. 

40  (82).    Vestigie  delle  Terme  Diocletiane. 

41  (83).  I.  Palazzo  Pontificio.    2.  Chiesa  di  S,  Maria  Maddalena. 

42  (84).  Palazzo  Farnese. 

43  (85)'  Veduta  del  Teairo  di  Marcello. 

44  (86).  Palazzo  degli  Ambasciatori  di  Venezia. 

45  (87).  Fontana  di  Trevi. 

46  (89).  Chiesa  di  S.  Paolo  fuori  delle  Mura. 

47  (91).  Chiesa  di  S.  Ignazio. 

48  (92).  Veduta  delle  Terme  di  Tito  Vespasiano. 

The  rest  by  P.  Anesi,  J.  L.  Le  Geay,  F.  P.  Duflos,  and  J.  C.  Bellicard.  Giesecke  (10) 
quotes  an  edition  in  Munich  (Graphische  Sammlung)  as  having  96  views  (and  described 
thus  on  title-page).  Later  editions  of  part  of  the  series  in  (i)  [G.  10  b]  Ridolfino  Venuti, 
Accurata  e  succincta  Descrizione  topograjica  delle  Antichitd,  di  Roma.  Rome,  1763 
(19  signed  Piranesi  in  B.M.L.  copy),  and  (ii)  [G.  10  a]  R.  Venuti,  Accurata  e  succincta 
Descrizione  .  .  .  di  Roma  Moderna  1766  (28  signed  Piranesi  in  B.M.L.  copy).  One  of 
the  views,  No.  12,  was  re-printed  in  Raccolta  di  50  vedute  .  . .  di  Roma  incise  da  Piranesi, 
Morelli,  Pronti  ed  altri  celebri  Bullini.  Presso  Piale  Neg*  di  Stampe.  Rome,  n.d. 
[after  1815].  B.M.L.,  Maps.  Nos.  12, 19,  29,  and  32  reprinted  in  the  1824  ed.  of  Venuti, 
No.  29  with  new  title  Ninfeo  di  Nerone,  and  Piranesi's  signature  erased. 

1748,  &c.  Le  Vedute  di  Roma.  F.  719-853.  G.  6.  xvi  and  xvii  (Catalogues  of  1792  and  1800). 
135  plates  (including  title-plate  and  frontispiece),  produced  between  1748  (or  earlier?) 
and  1778.  Two  plates  added  by  Francesco  Piranesi  in  1786  (?)  and  1788  (see  p.  73, 
Nos.  136  and  137).  The  Pianta  di  Roma,  1778,  is  often  bound  with  the  series.  For 
a  series  of  early  states  of  a  selection  of  the  views  see  Le  Magnificenze  di  Roma  1751. 
For  further  notes  on  the  series  and  a  detailed  Catalague  see  p.  30-73. 

1748.  Nuova  Pianta  di  Roma  data  in  Lttce  da  Giambattista  Nolli  I' Anno  MDCCXLViri.  F.  40. 
After  PI.  32  (end  of  Indice  Alfabetico  della  Pianta)  follows  the  only  plate  in  the  publica- 
tion which  bears  Piranesi's  name.  It  is  a  double  folio  plate  giving  a  smaller  plan  of  the 
whole  of  Rome  with  views  (no  doubt  Piranesi's  part  of  the  work)  of  St.  Peter's  and  other 
buildings  and  monuments.  The  title  of  the  plate  on  base  of  column  at  foot :  La  Topo- 
grafia  di  Roma  di  Gio.  Bafta  Nolli  dalla  Maggiore  in  questa  minor  Tauola  dal  Medesimo 
Ridotto.  Signature  at  end  of  fragment  of  stone  coping  at  foot  of  column :  Piranesi  e  Nolli 
incisero.    Carlo  Nolli,  who  signed  two  of  the  Index  plates,  is  probably  the  other  engraver. 

1750.  Opere  Varie  \  di  \  Architettura,  prospettiva  \  groteschi,  AntichitH  \  inventate,  ed  incise  \ 
da  I  Giambattista  Piranesi  |  Architetto  Veneziano,  \  raccolte  \  da  \  Giovanni  Bouchard  \ 


LIST   OF   PIRANESrS  PUBLISHED  WORKS  79 

Mercante  Librajo  al  Cor  so  \ — Vignette,  after  Claude  Lorrain — |  In  Roma,  1750  |  Con 
licema  de'  superiori  (title  in  type).  Not  described  by  Focillon  or  Giesecke.  viii  (Cata- 
logues of  1792  and  1800).  [Portrait  of  G.  B.  Piranesi  engraved  by  Polanzani  often 
appears  as  frontispiece.]  Etched  front  (generally  following  title-page) :  Prima  Parte  \ 
di  architetture  \  e  prosptttive  \  inventate  ed  incise  \  da  Giambaiista  Piranesi  \  Architetto 
Ventziano  \  fra gli  Arcadi  \  .S"fl/««<//<7  7"««V?  (later  state  oftitle-page  to  the  work  published 
in  1 743 ;  apart  from  title,  the  design  of  the  plate  is  considerably  changed,  various  figures 
being  added,  e.g.  one  kneeling  on  the  large  vase  in  the  centre  ;  only  the  column  on  1.  and 
the  lower  parts  of  the  plate  remaining  untouched).  Then  follow  32  plates,  Nos.  I-14 
being  numbered.  They  are  the  plates  described  as  1-16,  22-7  in  the  list  given  under 
later  edition  B.  The  unnumbered  plates  (numbered  later,  15,  16,  22-7)  occur  in  varying 
.  order  in  different  copies.  Masked  impressions  from  the  two  halves  of  the  allegorical 
frontispiece  to  the  Vedute  di  Roma  (Catalogue,  No.  2)  are  inserted  in  both  the  British 
Museum  Library  copies.  The  Soane  copy  of  this  edition  shows  the  plates  from  the 
Prima  Parte  di  Architetture  before  the  rework.  The  two  copies  at  the  British  Museum 
show  the  plate  reworked. 

[Later  edition  A  :  1750,  or  after].  The  title  now  reads  :  Opere  Varie  \  di  \  Architettura  \  pro- 
speitive  \  grotteschi  \  antichith  \  sul gusto  degli  antichi  Romani  \  inventate,  ed  incise  \  da 
Giambatiista  Piranesi  \  Architetto  Veneziano  \ — vignette  after  Claude  Lorrain — |  raccolte  \ 
da  I  Giovanni  Bouchard  \  Mercante  Librajo  al  Corso  \  In  Roma  \  MDCCL  |  con  licenza 
de' superiori.  F.  1-18,  20-3, 120  b,  121,  122.  G.  9.  [The  title  quoted  from  Giesecke  9,  as 
I  have  not  examined  a  copy.]  Same  plates  as  in  the  preceding.  Giesecke  notes  that  the 
plates  which  had  appeared  in  the  Prima  Parte  di  Architetture  are  in  the  reworked  state, 
as  I  have  remarked  in  later  copies  of  the  preceding  edition.  Manchester  (John  Rylands 
Library,  and  Chetham's  Hospital  and  Library). 

[Later  edition  B  :  176 1,  or  after].  The  same  title  with  Gio.  Batista  in  place  of  Giambattista  ; 
with  an  original  vignette  by  Piranesi  in  place  of  his  etching  after  Claude,  following  the 
word  Veneziano  :  then  In  Roma  MDCCL.  Con  licenza  de'  superiori  \  si  vendono  presso 
I' A  utore  net  palazzo  del  Signor  Conte  Tomati  \  su  la  strada  Felice  alle  TrinM  de'  Monti. 
[In  spite  of  date  on  title-page  remaining  1750,  the  edition  cannot  have  appeared  before 
1757,  as  it  contains  plates  issued  that  year  in  earlier  states  (see  below,  Lettere  di  Giusti- 
ficazione),  and  was  probably  not  issued  until  1761  when  Piranesi  seems  to  have  moved  to 
the  Palazzo  Tomati  (see  p.  7).]  F.  1-18,  20-3,  120  a,  121-32.  G.  9,  and  13  a.  Soane 
(2  copies),  R.A.,  Bodleian,  Cambridge  (Fitzwilliam),  Chatsworth,  Windsor.  The  following 
is  a  complete  list  of  the  plates  in  the  present  and  earlier  editions.  The  first  numbers  are  those 
of  the  present  and  later  editions ;  the  numbers  placed  after  the  titles  are  those  of  the  earlier 
or  1750  edition.  The  titles  are  printed  on  separate  plates  in  the  cases  of  Nos.  I,  2,  3,  6, 
8,  9, 10,  II,  12, 13, 14,  and  23.  Nos.  1-16  are  folio  size,  Nos.  17-21  smaller  plates  printed 
two  on  a  page  (partly  four  on  a  page  in  Ed.  Firmin-Didot),  and  Nos.  22-7  double  folio. 

Title. 

Frontispiece. 

I.  Galleria  Grande  di  Statue.     I. 
3.  Carcere  Oscura.     2. 

3.  Mausoleo  antico.    3  (on  title-plate,  4  in  error  upper  r.  margin  of  plate). 

4.  Gruppo  di  Colonne  (dated,  Rome  1743).    4. 

5.  Vestiggi  d'antichi  Edi/icj.     S- 

6.  Ruine  di  Sepolcro  antico.    6. 


8o  LIST  OF  PIRANESrS  PUBLISHED  WORKS 

7.  Ara  antica.     7. 

8.  Ponte  magnifico.    8. 

9.  Sala  air  uso  degli  antichi  Romani.    9. 
la  Campidoglio  antico.     10. 

11.  Gruppo  di  Scale.     II. 

12.  Prospetto  d'un  regio  Cortile.     12. 

13.  Vestibolo  d' antico  Tempio.     13. 

14.  Foro  antico  Romano.    14. 

15.  Tempio  antico.    Not  numbered.    This  and  No.  16  often  found  in  reverse  order  in 

earlier  editions. 

16.  Camera  sepolcrale.    Not  numbered. 

The  Frontispiece  of  the  Vedute  di  Roma,  with  Statue  of  Minerva.  Masked  impressions 
of  the  two  halves  of  this  plate  often  occur  after  No.  16,  or  later,  in  the  earlier  editions. 

The  following  ten  smaller  plates,  17-21,  were  added  in  the  present  later  edition  B. 
They  are  printed  two  on  a  page ;  the  upper  plate,  or  the  left-hand  plate  in  the  case  of  the 
two  upright  subjects,  is  given  as  a. 

17  [a]  Ingresso  d'un  antico  ginnasio. 

[17  b]  Idea  delle  antiche  vie  Appia  e  Ardeatina  [=  reduced  version  of  the  large 
frontispiece  to  Vol.  II  of  the  Antichitd,  Romane,  1756]  =  Tav.  II  Lettere  di 
Giustificazione,  1757. 

18  [a]  Veduta  d'uno  de'  circhi  antichi  [=  reduced  version  of  the  large  frontispiece  to 

Vol.  Ill  of  the  Antichitd,  Romane\  =  Tav.  Ill  Lettere  di  Giustificazione. 

[18  b]  Appartenenze  d' antiche  terme. 

[19  a]  Portici  Tirati  diniorno  ad  un  Foro. 

[19  b]  Scuola  antica  architettata  alia  Egiziana  e  Greca. 

[20  a]  Braccio  di  citta  pensile  [=  reduced  version  of  the  large  frontispiece  to  Vol.  IV  of 
the  Antichitd  Romane\  =  Tav.  IV  Lettere  di  Giustificazione. 

[20  b]  Ponte  Trionfale  [=  reduced  version  of  large  frontispiece  to  Vol.  I  of  the  Antichitd. 
Romane]  =  Tav.  I  Lettere  di  Giustificazione. 

21  [a]  Idea  d'un  atrio  reale.     Upright. 

[21  b]  Ravine  d'Archif^  Egiziana  e  Greca.     Upright. 

22.  Pianta  di  amfiio  magnifico  Collegia.  Not  numbered  in  early  editions,  and  this  or 
the  following  plate  generally  occur  after  the  Groteschi  (Nos.  24-7  below)  in  early 
editions. 
33.  Parte  di  Ampia  magnifico  Porta.  Not  numbered  in  early  editions.  The  following 
four  numbers  (large  oblong  plates)  must  answer  to  the  title  Groteschi  of  the  Title- 
page.  They  are  sometimes  referred  to  as  Capricci,  but  Piranesi  appears  to  have 
used  the  latter  title  in  the  first  instance  in  particular  reference  to  the  Carceri  (see 
earlier  issues).  Nos.  25, 26,  and  27  bear  Piranesi's  address  '  opposite  the  French 
Academy '.    They  are  without  numbers  in  early  editions. 

24.  Pyramidal  formation  of  architectural  and  sculptural  details,  with  death's  head  and 

skeleton  in  the  foreground. 

25.  Medley  of  ancient  columns  and  other  architectural  remains  ;  the  form  of  an  arch  in 

shadow  above,  and  a  vista  on  to  a  richly  ornamented  arcade  or  triumphal  arch 
in  the  background. 

26.  Medley  of  architectural  remains,  with  serpents  in  foreground ;   a  sarcophagus 

inscribed  NERO  .  .  .)  above  towards  1.,  and  a  painter's  palette  and  brushes 
lower  r. 


LIST  OF   PIRANESrS   PUBLISHED   WORKS  8i 

27.  Architectural  and  sculptural  medley,  with  a  large  slab  of  stone,  with  ornamental 
border,  in  the  centre,  several  casks  in  upper  1.,  and  a  skull  and  smoking  vase  in 
the  foreground. 
Four  of  the  small  plates,  i.e.,  20b,  17b,  18 a,  and  20a  (reproducing  in  small  the  four 
principal  frontispieces  to  the  Antichitd,  Romane  with  the  original  dedications  to  Lord 
Charlemont)  appeared  in  an  earlier  slate  as  Pis.  I-IV  in  the  Let/ere  lii  Ciustijicazione 
scritte  a  Milord  Charlemont,  1757.  Before  their  use  in  the  present  edition  of  the  Opere 
Varie  the  original  inscriptions  in  the  margin  and  the  plate  numbers  had  been  erased,  and 
various  small  changes  made  in  the  work  on  the  plate  (new  detail  added  in  place  of  old 
inscriptions),  and  Piranesi's  name  and  new  titles  added  as  indicated  above.  In  their 
altered  condition  there  are  two  states:  (a)  Before  any  rebiting.  E.g.,  in  one  of  the 
copies  in  the  Soane  Museum  ;  (b)  The  plates  rebitten  and  numbers  etched  in  the  margin 
of  two  of  the  plates,  i.  e.,  17  and  18.  The  two  states  (before  and  after  rebiting)  refer  also 
to  the  plates  which  did  not  occur  previously  in  the  Lettere.  21  is  the  only  other  number 
added  in  the  later  state  in  the  Soane. 

[1750,  or  earlier  :  Bouchard's  edition  A.]  Invenzioni  \  capric  de  Carceri  \  alt  acqua  forte  \  datte 
in  luce  \  da  Giovani  \  Buzard  in  \  Rama  Mercanie  \  al  Corso  (etched  title).  14  un- 
numbered plates  including  etched  title.  F.  24,  26,27,  29-39.  G.  5  (title-page  reproduced 
by  Giesecke,  Taf.  32,  with  transposed  underline).  Dresden  (Kupferstichkabinet),  Rome 
(Accademia  di  S.  Luca),  Manchester  (John  Rylands  Library),  Boston  (U.S.A.),  Sir 
Francis  Newbolt.  Giesecke  conjectures  the  date  as  about  1745.  The  catalogue  of  1792 
refers  to  the  work  as  of  1750  (probably  meaning  date  of  origin,  though  the  title  Prisons 
de  Nouvelle  Invention  and  reference  to  16  plates  denote  the  later  edition). 

[Later  issue:  before  1761:  Bouchard's  edition  B.]  Invenzioni  \  capric  de  Carceri  \  nlF  acqua 
forte  I  date  in  luce  \  da  Giotmni  |  Bouchard  in  \  Roma  Mercanie  \  al  Corso  (2nd  state 
of  etched  title).  The  other  plates  as  in  the  preceding  issue.  B.M.,  Soane,  Paris,  B.N. 
(only  8  plates:  wanting  3,  8,  9,  10,  11,  13  (according  to  numbers  in  later  edition), 
Munich  (Graph.  Samml.),  Messrs.  B.  T.  Batsford,  Sir  Reginald  Blomfield,  Mr.  John 
Charrington,  Leicester  Galleries,  The  Twenty-One  Gallery  (Adelphi,  W.C),  Oxford, 
Ashmolean  (only  7  plates  :  wanting  6.  7,  8,  10,  11,  14,  15,  bound  up  with  a  complete  set 
of  the  later  edition). 

[Later  (Piranesi's)  edition:  about  1761.]  Carceri  \  cTInvenzione  |  di  G.  Battisia  \  Piranesi\ 
Archil.  1  Vene  (3rd  state  of  etched  title).  16  numbered  plates  including  the  etched  title. 
F.  24-39.  G.  5  a.  IX  (Cat.  of  1792).  vin  (Cat.  of  1800).  Pis.  II  and  V  added  in  this 
edition,  II  being  inscribed  Presso  FAutore  a  Strada  Felice  vicino  alia  Trittitd  de' 
Monti.  Fogli  sedici,  al  prezzo  di  paoli  venti.  The  plates  from  the  earlier  issues  in 
most  cases  very  considerably  elaborated  and  modified  :  adding  throughout  a  much 
greater  depth  and  contrast  of  tones.  This  edition  of  16  plates  figures  in  the  earliest  of 
the  engraved  aitalogues  (about  1761,  see  No.  I,  p.  6),  and  is  priced  at  20  paoli.  In  the 
catalogue  printed  at  the  end  of  the  preface  in  the  1756  ed.  of  the  Antichitd.  Romane  the 
number  of  plates  is  not  cited,  but  the  work  is  priced  at  14  paoli.  It  seems  natural  to 
infer  that  this  was  the  earlier  and  smaller  edition  of  14  plates.  Plate  II  is  not  known 
in  state  before  Piranesi's  address  in  the  Strada  Felice,  where  he  probably  moved  about 
1 761  (see  p.  7),  so  that  this  and  the  entry  in  the  engraved  catalogue  fix  the  date.  For 
detailed  catalogue  of  the  plates  see  p.  24. 

[About  1750?]  Camere  sepolcrali  \  degli  Antichi  Romani  \  le  quali  esistono  \  dentroefuori  \  di 
Roma  (etched  title).     1 1  unnumbered  plates  (in  addition  to  title),  which  were  later  incor- 

G 


Si  LIST  OF  PIRANESrS  PUBLISHED  WORKS 

porated  in  the  Antickild.  Romane  (for  the  most  part  unnumbered  in  the  edition  of  1756, 
and  all  numbered  in  1784  ed.).  They  correspond  to  Pis.  8,  9,  10,  16,  39  of  vol.  II,  and  12, 
21,  23,  24,  25,  26  of  Vol.  Ill  of  the  Antichiti.  Romane,  and  appear  in  the  following  order  : 
II  8,  39,  10,  9 ;  III  21,  24,  23,  25,  26  ;  II  16  ;  III  12.  Ill  23-26  are  engraved  by  Giro- 
lamo  Rossi,  three  being  inscribed  as  after  Antonio  Buonamici.  Soane  [in  the  volume 
which  contains  the  first  editbn  of  the  Opere  Varie  and  the  Bouchard  edition  of  the 
Carceri^ 

1751  (•)•  ^  Magnificeme  \  di  Roma  \  h  piil  remarcabili  \  comistenti  in  gran  numero  di 
stampe  \  mile  quali  vengano  rappresentate  le  piii  |  compicue  Fabbriche  \  di  Roma 
Modema,  \  e  le  rimaste  deir  antica,  anche  quelle,  che  sparse  sono  per  C  Italia  \  con 
r  aggiunta  ancora  \  di  molte  invemioni  di  prospettiva  \  sulla  maniera  degf  antichi 
Romani,  \  come  anche  \  di  mold  capricci  di  carceri  sotteranee,  \  II  tiilto  con  singolar 
gusto,  e  studio  diligentemente  delineate,  inventate,  ed  incise  \  da  Giambattista  Piranesi  \ 
architetto  Veneziano,  \  e  raccolte  da  Giovanni  Bouchard  |  mercante  librajo  al  corso  \ 
(Vignette  by  Piranesi,  F.  120  a,  as  in  Opere  Varie,  later  edition  B)  |  In  RomaMDCCLI\ 
Con  Licenza  d^  Superiori  \  Title-page  in  type  as  above.  This  collection  by  Bouchard 
contained  a  selection  of  the  earlier  Vedute  di  Roma  (in  early  states,  before  price  and 
Piranesi's  address  in  the  Palazzo  Tomati,  and  some  with  different  titles,  as  described  in 
detail  in  the  catalogue  of  the  Vedute  di  Roma),  and  several  other  early  series  by  Piranesi. 
Perhaps  Bouchard  only  bound  up  this  selection  as  he  sold,  and  the  extreme  rarity  of  copies 
might  be  explained  either  by  the  unpopularity  of  this  corpus  (customers  preferring  to  take 
separate  works),  or  by  the  fact  that  the  works  have  got  separated  later.  Three  copies 
are  known  to  me  which  seem  to  correspond  roughly  to  the  scheme  of  the  title-page,  and 
are  very  nearly  similar  in  make  up,  one  belonging  to  Mr.  John  Charrington  (from  the 
collection  of  Mrs.  Gilbert  Drage),  another  in  the  collection  of  Sir  Reginald  Blomfield, 
A.U.A.,  a  third  at  the  Leicester  Galleries  (1922).  A  fourth  in  the  Soane  Museum  only 
contains  the  Vedute  (followed  in  the  same  volume  by  the  Raccolte  di  Varie  Vedute,  1752, 
which  hardly  properly  belongs  to  the  series:  see  above  under  1 748  Varie  Vedute,  later 
edition).  The  following  are  the  Vedute  (according  to  the  chronological  numbers  of  my 
list)  which  occur  in  Charrington,  Blomfield,  Leicester  Galleries,  and  Soane  :  I,  2,  3,  4,  5, 
7,  8,  9,  14,  15, 16,  17,  18,  19,  28,  29,  33,  35,  37,  38,  40,41,  43,  45.  46,  49.  5o,  5'.  52,  53.  54, 
56,  58  and  59  :  No.  58  in  Charrington  and  Blomfield  in  early  state  with  title  Tempio  di 
Bellona.  Soane  has  32  and  34  not  in  either  of  the  other  copies.  The  order  in  which  the 
Vedute  occur  differs  slightly  in  each  copy.  In  addition  to  the  Vedute,  the  Charrington, 
Blomfield  and  Leicester  Galleries  copies  contain  the  following:  (i)  Portrait  of  Piranesi 
by  Polanzani,  as  frontispiece  (as  in  Opere  Varie,  &c.).  [(2)  Title-page  and  Vedute].  (3) 
Antichitd  Romane  <&'  Tempi  della  Repubblica,  1748  (28  plates).  (4)  Opere  Varie 
(Blomfield  copy  lacks  the  title  in  type)  Frontispiece  {Prima  Parte  di  Architetture),  then 
Pis.  1-16  and  22-27  of  list  given  under  Opere  Varie,  later  edition  B  (but  1 5,  16,  22-27 
before  the  numbers  as  in  earlier  editions  of  the  Opere  Varie).  Pis.  22-27  follow  after  the 
Carceri.  (5)  Invenzioni  capric  di  Carceri  (ist  edition,  with  title-page  in  2nd  state). 
[The  Blomfield  copy  also  has  impressions  of  the  frontispiece  to  the  Vedute  di  Roma 
repeated,  printed  in  two  portions,  at  end  of  Opere  Varie].  The  order  of  the  above 
differs  slightly  in  each,  but  the  indication  is  sufficient  to  show  the  contents.  For  dis- 
cussion of  the  date  (which  is  complicated  by  the  fact  that  some  of  the  Vedute  included 
are  as  late  as  1760  according  to  the  catalogue  of  1792)  see  my  text,  p.  7. 

1753.  Trofei  |  di  Ottcniiano  Augttsto  \  innalzati  per  la  Vittoria  ad  Actium  e  conquista  delf 
Egitto  I  Con  varj  altri  ornamenti  diligentemente  ricavati  dagli  avansi  piil  preziosi  | 


LIST  OF  PIRANESrS   PUBLISHED  WORKS  83 

ilelU  fabbriche  antiche  di  Roma  I  Utili  a  Pitiori  Scultori  ed  Architetti  \  disegnati  ed 
incisi  \  da  Giambatiisia  Piranesi  Architetto  Veneziano.  \  Si  vendono  in  Roma  \  da  Gio- 
vanni Bouchard  Mercante  Librajo  sul  Corso  a  S.  Marcello  \  In  Roma  MDCCLIII. 
F.  133-143.  G.  II.  XI  (Catalogue  of  1792).  viii  (Catalogue  of  1800).  Title  in  type  (as 
above).  10  unnumbered  plates  (including  vignette  Frammenio  di  una  scudo  on  title- 
page)  :  including  No.  34  of  the  Vedute  di  Roma, 

[Later  edition.]  Dated  1780  in  catalogue  of  1792.  New  engraved  title,  and  five  plates  by 
Francesco  Piranesi  added  (Nos.  4,  5,  7,  8,  9),  one  dated  1778.  Only  plates  4,  5,  7,  8,  9, 
10,  1 1  numbered  (some  editions  are  before  the  numbers).  In  this  edition  the  Frammento 
di  una  scudo  which  occurs  on  same  page  with  new  engraved  title  is  numbered  xviii, 
a  relic  of  its  place  in  the  Roinne  dell  Casiello  delt  Acqua  Giulia,  1761. 

1756.   Le  Antichitd.  \  Romane  \  Opera  \  di  |  Giambatista  |  Piranesi  \  Architetto     Veneziano  \ 
Divisa  in  quattro  tomi  \  nel  primo  de'  quali  si  contengono  \  gli  avanzi  degli  antichi 
Edifizi  di  Roma,  \  disposti  in  Tcevola  iopographica  \  secondo  Fodierna  loro  esistenza  \  ed 
illusirati  co'  frammenti  delP  aniica  Iconografia  marmorea,  \  e  con  uno  Indice  critico 
della  loro  denominazione  \  arrichito  di  tavole  suppletorie  \  fralle  quali  si  dimostrano  \ 
I'elevazione  degli  stessi  avanzi :  Pandamento  degli  antichi  Acquedotti  nelle  vicinanze  e 
nel  dentro  \  di  Rojna,  correlativo  al  Commentario  Frontiniano  ivi  esposto  in  compendia  : 
la  Pianta  |  delle  Terme  le  piu  conspicue  :  del  Foro  Romano  colle  contrade  circonvicine :  \ 
del  Monte  Capitolino :   ed  altre  le  piti  riguardevoli  \  Nel  secondo,  e  nel  Terzo  \  Gli 
avanzi  de'  Monument!  \  Sepolcrali  esistenti  in  Roma,  e  nelP  Agro  Romano  colle  loro  \ 
rispettive  piante,  elevazioni,  sezioni,  vedute  esterne  ed  interne  :  colla  dimostrazioni  \  dtf 
sarcofagi,  ceppi,  vasi  cenerarj,  e  unguenlarj,  bassirilievi,  stucchi  \  musaici,  iscrizioni,  e 
tutf  altro  ch'  e  stato  in  essi  ritrovato  :  \  e  colle  loro  indicazioni,  e  spiegazioni.  \  Nel 
quarto  \  I  Ponti  antichi  di  Roma  che  inoggi  sono  in  essere,  colle  Vestigia  delP  aniica 
Isola  I  Tiberina,  gli  Avanzi  de  Teatri,  de'  Portici,  e  di  altri  Monumenti,  \  eziando  colle 
loro  indicazioni  e  spiegazione.  \  Tomo  Primo  \  In  Roma  MDCCL  VI  |  Nella  Stamperia 
di  Angelo  Rotilj  \  nel  Pcdazzo  dc?  Massimi.  \  Con  licenza  d^  superior!  \  si  vendono  in 
Roma  dai  Signori  Bouchard,  e  Gravier  Mercanii  libraj  al  Corso  \  presso  san  Marcello. 
F.  144-395.    G.  12.  i-iv  (Catalogues  of  1792  and  1800).    Vol.  I.  Portrait  of  Piranesi, 
engraved  by  Polanzani  (1750),  generally  prefixed:   Title-page  in  type  (as  above) :  [i] 
Etched  frontispiece  (with  dedication  to  Lord  Charlemont  in  rare  early  copies) :  pp.  4 
(preface,  imprimatur  and  list  of  Piranesi's  work  hitherto  published),  with  I   initial : 
Pis.  II-VII:  pp.  40,  with  1  head-  and  I  tail-piece,  and  i  initial:  Pis.  VIII-XXXVIII 
(each  number  including  two  on  a  page) :  pp.  i-xi,  with  two  initials  :  Pis.  XXXIX-XL  : 
pp.iii.with  I  initial:  Pls.XLI-XLIII :  pp.iv:  Pl.XLIIII:  Text  with  Index  vi.     Vol.11 
PI.  I:  Etched  frontispiece  (with  dedication  to  Lord  Charlemont  in  rare  early  copies) : 
PI.  II  (double  plate  [in  B.M.L.  copy  before  number] :  Pis.  III-LXIII.     Vol.  III.  PI.  I 
Etched  frontispiece  (with  dedication  to  Lord  Charlemont  in  rare  early  copies) :  PI.  II 
(double  plate)  [In  B.M.L.  copy  before  number] :  Pis.  III-LIV.    Vol.  IV.  PI.  i  Etched 
frontispiece  (with  dedication  to  Lord  Charlemont  in  rare  early  copies) :  PI.  II  (double 
plate) :  Pis.  III-LVII.    In  all  218  numbered  plates  as  above  (44  in  Vol.  1,63  in  II,  54  in 
III,  57  in  IV).    A  copy  in  the  Soane  Museum  only  contains  56  plates  in  Vol.  IV.    Most 
of  the  1756  editions  which  I  have  noted  contain  plates  as  above.    Giesecke  notes  43  for 
Vol.  I ,  and  56  for  Vol.  IV  as  the  proper  number  in  ed.  1756.    These  differences  undoubtedly 
show  earlier  and  later  issues  of  the  edition  with  the  title-page  of  1756,  even  after  the 
alteration  of  the  dedication  of  frontispieces,  caused  by  a  quarrel  with  Lord  Charlemont, 
described  in  the  Lettere  di  Giustificazione  of  1737.  Some  copies  (e.g.  B.M.L.)  contain  the 

G  3 


84  LIST  OF  PIRANESrS   PUBLISHED   WORKS 

first  and  second  of  the  letters  which  were  published  separately  in  1757.  In  engraving 
several  of  the  plates  of  Vols.  II  and  III  Piranesi  was  assisted  in  the  figures  by  Barbault. 
Pis.  XXIII-XXVI  of  Vol.  Ill  are  etched  by  Girolamo  Rossi  (three  being  inscribed  as 
after  Antonio  Buonamici).  For  a  separate  issue  of  II  of  the  plates  in  an  earlier  state 
see  Camere  Sepolcrali  (about  1750?). 

[Later  Edition  :  1784.]  In  Roma  \  MDCCLXXXIV\  nella  Stainperia  Salomoni  alia  Piazza 
(it  S.  Ignazio  \  .  F.  144-395.  G.  12  a.  Portrait  of  G.  B.  Piranesi  by  Francesco 
Piranesi  after  Giuseppe  Cades  prefixed  in  place  of  the  Polanzani.  The  first  frontispiece 
with  dedication  to  Gustavus  III  of  Sweden. 

1757.  Letters  \  di  \  GiustificazioHe  \  scritte  a  Milord  \  Charlemont  \  e  a'  di  lui  agenti  \  di 
Roma  I  dal  Signor  Piranesi  \  Socio  \  delta  real  Society  \  degli  Antiquari  \  di  Londra  \ 
intorno  la  dedica  \  delta  sua  opera  \  delle  antichitcL  Ront  \  Fatta  alio  stesso  Signor  |  ed 
ultimamente  \  soppressa  \  In  Roma  MDCCL  VII  \  ,  (On  scroll  above) :  lustissimo 
Casu  I  obliteratis  \  tantae  vanitatis  \  nominibus  \  Plin.  Lib.  xxxvi  |  Cap.  xxii  |  .  Fly- 
leaf with  "etched  border  of  architect's  instruments,  and  twin  serpents  ;  etched  title  and  8 
numbered  plates.  F.  p.  63,  A.  G.  13.  Pp.  xxviii  (containing  Prefazione,  Avviso  al 
pubblico,  and  three  letters,  the  first  two  to  Lord  Charlemont,  the  third  to  Signor  A. .  .  . 
G.  .  .  [Aug.  25,  1756,  Feb.,  1757,  May  31,  1757],  and  footnotes  referring  to  the  plates) 
with  4  head-  and  i  tail-piece.  PI.  X(?).  B.M.L.  Oxford  (Bodleian).  Windsor  (Royal 
Library).  Berlin  (Kunstgewerbe  Museum).  Tubbs.  The  three  copies  examined  by  me 
contain  8  numbered  plates.  The  Ex  Libris  etched  border  in  the  B.M.L.  copy  contains 
manuscript  dedication,  probably  in  Piranesi's  hand,  AW  Illiho  Sigre  It Sigr  Riccardo  Hay- 
ivard  Sctiltore  Celebre.  Giesecke  describes  the  work  as  containing  10  plates.  Pis.  I-IV 
occur  in  later  state  in  the  later  edition  B  of  the  Opere  Varie  (q.v.).  I  give  here  indication 
of  the  lettering  in  the  present  rare  edition:  I-  Inscribed  Tav.  /in  upper  1.,  and  in 
margin  Primo  Frontespizio  delV  Opera  . . .  I'lscrizione  (3  lines)  \_=  Opere  Varie,  later 
ed.  B,  pi.  20  b.].  II.  Inscribed  Tav.  II  in  upper  r.,  and  in  margin  Secondo  Frontespizio 
, . .  lettera  (4  lines)  [=  Opere  Varie,  17  b.].  III.  Inscribed  Tav.  Ill  in  upper  r.,  and  in 
margin  Frontespizio  Terzo,  and  two  lines  of  references,  A  and  B  on  either  side  [=  Opere 
Varie,  18  a].  IV.  Inscribed  Tav.  /K  in  lower  r.,  and  in  margin  Quarto  Frontespizio. 
Dedication  shown  beneath  the  pediment  [=Opere  Varie,  aoa].  V  (folding  plate). 
Inscribed  Tav.  V  and  in  margin :  Prima  Iscrizione  di  Milord  Charlemont  desunta  con 
esattissima  iniitazione  e  nella  grandezza  et  net  carattere  delP  originale,  eke  \  Pautore  ha 
poi  depositate  nella  Biblioteca  .  . .  Corsini  alia  testa  del  primo  Tomo  delf  opera  di  cui  si 
tratta  ...  (3  lines),  VI.  Inscribed  Tav.  VI,  and  Seconda  Iscrizione  di  Milord  Charle- 
mont ...  (4  lines).  VII.  Inscribed  Tav.  VII,  and  in  margin  :  A.  Lapide  del  primo  fronte- 
spizio ...  D.  Epistolio  del  quarto  parimente  con  esse  (2  lines).  VIII.  Inscribed  Tav.  VIII, 
and  in  margin  :  A.  Complimento  al  Pubblico  sostituito  ne I  primo  Frontespizio  . . .  terzo 
e  quarto  (3  lines).  Pis.  I-IV  reproduce  on  a  small  scale  the  frontispieces  to  the  four 
volumes  of  the  AntichitcL  Romane,  showing  the  original  dedications.  The  later  plates 
reproduce  the  inscriptions  themselves  alone,  and  their  places  on  the  original  plate  in  the 
Antichitct  Romane.  The  volume  was  suppressed  soon  after  publication,  which  accounts 
for  its  extreme  rarity.  An  earlier  edition  of  the  first  and  second  letters  (on  five  folio 
pages)  is  found  inserted  in  some  copies  of  the  AntichitA  Romane  1756  (no  doubt  in  the 
issues  that  went  out  early  in  1757,  before  the  appearance  of  the  separate  edition  of  the 
three  letters). 

1 76 1.  Iannis  Baptislae  \  Piranesii  \  Antiquariorum  \  regiae societatis Londinensis  \  socii  \  de  \ 
Romanorum  \  Magnificentia  \  et  Architectura  \  Romae   MDCCLXI  {Delia  \  Magnifi- 


LIST  OF  PIRANESI'S   PUBLISHED  WORKS  85 

ctnsa  I  td  Architettura  \  de'  Romani  \  Opera  \  di  Gio.  Battista  Piranesi  \  socio  della 
reale  \  accadtmia  \  degli  antiquarj  \  di  Londrd].  F.  927-66.  G.  14.  vii  (Catalogues 
of  1792  and  1800).  Latin  and  Italian  engraved  titles  (as  above).  Portrait  of  Pope 
Clement  XIII  engraved  by  D.  Cunego  after  G.  B,  Piranesi :  pp.  [2], dedication,  with  one 
initial.  Pp.  212, with  2  initials  and  2  tail-pieces:  PI.  XXXVIII.  For  supplement  (gener- 
ally bound  at  end  of  this  volume)  see  1765,  Osservazioni. 

1 761 .  Z«  Rovine  dell  Castello  |  delP  Acqua  Giulia  \  situate  in  Roma  presso  \  S.  Eusebio,  e  falsa- 
mente  \  del  to  delP  Acqua  Marcia  \  col  la  dichiarazione  di  uno  \  de"  celebri  passi  \  del 
content ario  Frontiniano  \  e  sposizione  della  maniera  \  con  cui  gli  antichi  Romani  distri- 
buivan  \  le  acque  per  uso  della  cittd  \  di  Gio.  Battista  Piranesi.  F.  396-420.  G.  16, 
xin  (Catalogue  of  1792).  ix  (Catalogue  of  1800).  Dated  Rome,  1761  on  title-page  in 
type.  Engraved  title  (as  above) :  pp.  26,  with  2  initials  and  2  tail-pieces  :  PI.  XIX. 
(PI.  XVIII  is  the  Frammento  di  uno  scudo  which  appears  on  the  printed  title  of  first 
edition,  and  on  first  page  of  2nd  edition  of  the  Trofei  di  Ottaviano  Augusta.) 

[1762.]  J.B.  I  Piranesii  \  Lapides  \  Capitolini:  \  sive  \  Fasti  Consulares  |  triumphalesque  Ro- 
manorum  \  ab  urbe  condita  \  usque  ad  Tiberium  \  Caesarem.  F.  421-27.  G.  17.  XII 
(Catalogue  of  1792).  ix  (Catalogue  of  1 800).  Etched  title  (as  above) ;  etched  dedication 
to  Clement  XIII ;  pp.  [4],  preface,  with  i  head-piece:  pp.  61,  with  2  tail-pieces:  PI,  I. 
The  catalogue  of  1792  dates  (approbatio)  16  June,  1761. 

1762.  Joannis Baptislae  |  Piranesii  \  Antiquariorum  \  Regiae Societatis  \  Londinensis  \  Socii\ 
Campius  Martius  \  Antiquae  \  Urbis  \  Romae,  MDCCLXII.  (With  dedication)  Roberto] 
Adam  \  Brittanno  \  Architecto  \  Celeberrimo,  and  (in  margin)  Veneunt  apud  Auctortm 
in  aedibus  Comitis  Thomati  via  Felice  prope  Templum  SS.  Trinitatis  in  Monte  Pincio. 
[/I  Campo  I  Marzio  \  dell'  Antica  Roma  \  Opera  \  di  G.  B.  Piranesi  socio  della  reale 
societcL  I  degli  antiquari  di  Londra].  F.  428-79.  G,  18.  XV  (Catalogue  of  1792).  X 
(Catalogue  of  1800).  Two  engraved  titles  (as  above).  Pp.  [8],  dedication  in  type  (to  R. 
Adam),  with  2  head-pieces :  pp.  69  [70],  with  2  initials,  and  2  tail-pieces ;  pp.  xii : 
pp.  xvii  [xviii] :  pi.  XLVIII.  (PI.  XXXI  is  a  large  folding  plate  engraved  by  Arnold  van 
Westerhout  after  Francesco  Fontana.) 

[?  Later  Edition  :  n.  d.]  With  the  2  engraved  titles,  but  with  printed  text  in  Italian  only.  Pp.  31 
[32].  Described  by  Dr.  Thomas  Ashby  [Burlington  Magazine,  Nov.,  1918)  from  a  copy 
in  his  own  collection. 

[1764.]  Antichith  \  di  \  Cora,  \  descritte  ed  incise  \  da  Giovambat.  \  Piranesi.  F.  537-50. 
G.  22.  XIV  (Catalogue  of  1792).  ix  (Catalogue  of  1800).  The  catalogue  of  1792  dates 
{approbatio .')  1 763.  The  engraved  catalogue  described  as  No.  4  in  my  text  has  a  MS. 
addition  nel  mese  di  Maggio  1^64  si  daranno  alia  luce  le  AntichitA  di  Cora  e  di  Albano. 
Half-title  (type) :  etched  title  (as  above) :  pp.  15  [16],  with  head-piece  and  I  illustration 
(p.  16) :  pL  X. 

[1762-4.]  Descrizione  \  e  disegno  \  deW  Emissario  \  del  Lago  |  Albano  \  di  Gio  Batista  \  Pi- 
ranesi. F.  480-91.  G.  20.  XVI  (Catalogue  of  1 792).  xi  (Catalogue  of  1800).  Engraved 
title:  pp.  20,  with  initial  and  tail-piece:  PI.  IX  (PI.  Ill  being  from  2  plates).  The 
catalogue  of  1792  dates  (approbatio)  April  i,  1762.  This  work  is  cited  in  three  editions 
of  the  engraved  catalogue  known  to  me  (see  Nos.  3,  4,  5  as  described  in  my  text), 
before  being  replaced  by  general  title  A?itichiti  d' Albano.  Later  this  work  and  the 
following  were  generally  bound  up  with  and  after  the  AntichitA  d' Albano. 


86  LIST  OF  PIRANESI'S   PUBLISHED   WORKS 

[1762-4.]  Di due  spelonche  \  ornate  dagli  antichi  \  alia  Riva  del Lago  \  Albatto  \  .  F.  492-504. 
G.  21.  XVI  (Catalogue  of  1792).  xi  (Catalogue  of  1800),  pp.  9  [10],  with  head-piece  : 
12  plates.    The  catalogue  of  1792  dates  {approbatid)  Aug.  30,  1762. 

1 764.  Antichitd.  d" Albatto  \  e  di  Castel  Gandolfo  \  Descritte  ed  incise  \  da  \  Giovambattista  \ 
Piranesi  \  in  Roma  Fanno  1764.  F.  505-36.  G.  19.  xvi  (Catalogue  of  1792).  XI  (Cata- 
logue of  i8oo).  Half-title  (type) :  engraved  title  (as  above) :  etched  dedication  to 
Clement  XIII :  pp.  [2]  (dedication  in  type),  with  I  etched  initial:  pp.26:  26  plates.  The 
Catalogue  of  1792  dates  (approhatio)  Jan.  5,  1762.  The  two  preceding  are  nearly  always 
bound  up  after  the  present  work. 

1764.  Raccolta  di  alcuni  disegni  del  Barbieri  da  Cento  detto  il  Guercino,  incisi  in  rame  e  pre- 
sentati  al  singolar  merito  del  Sig.  T.  Jenkins  .  .  .  dalP  architetto  .  .  .G.  B,  Piranesi.  In 
Roma  1764.  F.  983-86.  G.  23.  XXIX  (Catalogue  of  1792).  xxi  (Catalogue  of  1800). 
Described  in  catalogue  of  1792  as  'en  28  planches'.  Frontispiece  (with  etching  after 
Guercino),  and  three  other  plates  (two  after  Guercino,  one  after  Ghezzi)  etched  by  G.  B. 
Piranesi  (Nos.  926  b  and  931  a  and  b  in  Paris  ed.  of  Firmin-Didot).  The  majority  of  the 
plates  in  this  publication  of  G.  B.  Piranesi  were  engraved  by  Bartolozzi.  I  have  not 
examined  an  undoubted  first  edition  of  this  work.  The  copy  in  the  B.M.  is  bound  up 
with  other  plates  after  Guercino,  and  the  B.M.L.  only  possesses  the  Paris  ed.  of  Firmin- 
Didot  (which  contains  plates  that  I  have  noted).  Giesecke  (perhaps  rightly  in  relation  to 
1764  ed.)  only  describes  2  plates  in  addition  to  the  frontispiece  as  by  Piranesi. 

1765.  Ossen.'azio7ii  \  di  Gio.  Battista  Piranesi  \  sopra  la  \  lettre  de  M.Mariette  \  aux  auteurs 
de  la  Gazette  \  Litteraire  de  I' Europe,  \  Inserita  nel  |  Supplemento  deW  istessa  Gazetta 
stampata  \  Dimatuhe  4.  Novembre  \  MDCCLIV.  \  E  parere  su  P Architettura,  con  una 
Prefazione  ad  un  nuo\vo  Trattato  delta  introduzione  e  del  progresso  delle  \  belle  arti  in 
Europa  ne'  tempi  antichi .  In  Roma  \  MDCCLXV  \  con  licenza  \  de  superiori.  F.  967- 
82.  G.  25.  VII  (Catalogues  of  1792  and  1800).  Engraved  general  title  as  above. 
Osservazioni  :  pp.  8,  with  I  head-piece.  Parere  su  F Architettura  :  pp.  8,  with  i  head- 
and  I  tail-piece,  6  unnumbered  plates.  Delia  Introduzione :  pp.  7  [8],  with  I  head-  and 
2  tail-pieces,  PI.  Ill  (the  first  lettered  above  Essais dediffirentes  Prises  . . . ).  This  work 
is  bound  as  a  supplement  to  Delia  Magnificenza  ed  Architettura  de'  Romani,  1761. 

1766.  A  view  of  part  of  the  intended  bridge  at  Blackfriars  in  Atigust,  1764,  by  Robert  Mylne, 
architect.  Engraved  by  Piranesi  at  Rome.  Publisk'd  according  to  Act  of  Parliament 
lOth  March,  1776.    F.  991.    B.M.  (2  impressions).    Soane. 

1769.  Diverse  Maniere  \  dadomare  i  cammini  \  ed  ogni  altra  parte  degli  edifizj  \  desunte  deW 
architettura  Egizia,  Etrusca,  e  Greca  \  con  un  |  Ragionamento  Apologetico  \  in  difesa 
deir  Architettura  Egizia,  e  Toscana  \  opera  \  del  Cavaliere  Giambattista  Piranesi  Archi- 
tetto. Roma,  1769.  [Title  in  type  repeated  in  English  and  French.]  F.  854-926.  G. 
26,  xxviii  (Cat.  of  1792).  XX  (Cat.  of  1800).  Engraved  title  and  engraved  dedication 
(to  G.  B.  Rezzonico)  :  pp.  [2]  dedication  in  type :  pp.  35  [38]  text,  with  i  head-  and  I 
tail-piece,  1  small  plate,  and  three  larger  plates.    PI.  LXVI. 

[1775-6.]  (Colonnadi  Trajano.)  Trofeo  0  sia  magnifica  \  colonna  coclide di manno  |  .  .  .  |  ove 
si  veggono  \  scolpite  le  due  guerre  daciche  \  fatle  da   Trajano  \  inalzata  nel  mezzo  del 

Gran  Foro  \  etc F.  551-73.    G.  27.    [xviii]  (Catalogue  of  1792).    xiv  (Catalogue  of 

1800).  19  plates  (including  title  and  dedication  plates)  by  G.  B.  Piranesi.  2  plates  by 
Francesco.  Dated  March  10, 1775  in  Catalogue  of  1792.  The  plates  numbered  l-xxi  in 
later  states  (many  of  the  'plates'  being  printed  from  more  than  one  copper-plate).  I 
have  not  examined  an  edition  with  text  in  type,  which  is  said  to  be  extremely  rare. 


LIST  OF  PIRANESrS  PUBLISHED  WORKS  87 

[1776-7.]    Colonna  Antonina,    [A  series  of  plates  representing  the  Column  of  Marcus  Aurelius.] 

F.  574-76.  G.  27.  XIX  (Catalogue  of  1792).  xiv  (Catalogue  of  1800).  Dated  June  10, 
1776,  in  Catalogue  of  1792,  and  described  as  in  7  plates.  Generally  mounted  in  a  roll 
(as  in  the  case  of  the  two  other  works  on  the  Roman  columns),  so  that  it  is  difficult  to  be 
certain  of  the  number  of  the  plates.  In  later  states  they  are  numbered  following  the 
Colonna  di  Trajano  as  PI.  XXII  (2  folio  plates,  showing  views  of  column  in  Piranesi's 
time,  reconstruction,  and  plan)  and  XXIII  large  folding  view,  from  several  plates. 

[1779-80.]  Colonna  eretta  in  memoria  delF  apoteosi  di  Antonino  Pio  e  Faustina  sua  moglie, 
&'c.  F.  577-82.  G.27.  XIX  (Catalogue  of  1792).  Xiv  (Catalogue  of  1800).  ?  6  plates. 
Dated  Jan.  15,  1779,  in  catalogue  of  1792,  and  described  in  catalogue  of  1792  as  'en 
plusieurs  planches '.  Numbered  in  later  states  XXIV-XXVXI  (4  large  views  of  the  pedestal) 
and  XXVIII  (map  of  situation,  and  view  of  elevation). 

1778.  Vasi,  candelabri,  cippi  \  sarcofagi,  tripodi,  |  lucerne,  ed  ornamenti  antichi  \  disegnati  ed 
incisi  dal  cav.   Gio.  Bait.  Piranesi  \  publicati  Panno  MDCCLXXIIX,    F.  601-718. 

G.  28.  XVII  (Catalogue  of  1792).  xii,  xiii  (Catalogue  of  1800).  The  Catalogue  of 
1792  gives  '  2  vols  en  114  comprises  les  doubles  planches  Isioia  ceux  graves  jusq'k  I'an 

1778  sont  publides  par  le  Che  v.  Jean  Baptiste,  les  autres  du  1779  jusq'k  present  par  le 
Chev.  Frangois  . .  .'  Then  follows  list  of  no  plates  (double  plates  being  counted  as  i) 
with  dates  of  production.  The  plates  by  G.  B.  Piranesi  produced  between  1768-78. 
Eight  by  Francesco  (Nos.  13,  14,  20,  72,  74,  77,  87,  109)  produced  between  the  years 

1779  and  1786. 

1778.  Four  plates  in  Robert  and  James  Adam,  Works  in  Architecture.  Fol.  F.  987-90. 
Vol.  II.  Cahier  IV.  Sion  House.  PI.  I.'  Section  of  one  side  of  the  Hall  at  Sion  House. 
PI.  III.  Ceiling  of  the  Hall  at  Sion  House.  PI.  IV.  Two  sections  of  the  Anti-room  at 
Sion  House.  PI.  V.  Ionic  order  and  other  details  of  the  Ante-room  of  Sion  House.  The 
four  plates  lettered  as  published  in  1778. 

[1778-9.]  Diffirentes  vues  de  guelques  \  Restes  de  trots  grands  Edifices  \  qui  subsistent  encore 
dans  le  milieu  de  \  I'ancienne  Ville  de  Pesto  autrement  Pos\idonia  qui  est  situ^e  dans  la 
Lucanie.  F.  583-99.  G.  29.  xx  (Catalogue  of  1792).  xv  (Catalogue  of  1800).  Etched 
frontispiece  (with  title),  and  PI.  XX.  Dated  Sept.  15,  1778  in  the  catalogue  of  1792.  All 
the  plates  signed  Cav.  Piranesi  f.  (and  so,  ostensibly,  by  G.  B.  Piranesi)  except  the 
frontispiece,  and  Pis.  XIX  and  XX,  which  are  signed  by  Francesco.  There  is  also  a 
rejected  version  of  pi.  XII  in  the  B.M.  The  original  drawings  for  fifteen  of  the  series 
attributed  variously  to  G.  B.  Piranesi  and  Francesco  Piranesi  are  in  the  Soane  Museum 
(i.e.  for  Nos. 2,  3,  4,  5,6,  7,  8,  9>  lOi  H.  12.  '3.  I4i  16,  17).  All  are  in  the  same  direction 
as  the  prints  except  No.  2,  which  is  in  reverse.  See  discussion  as  to  authorship  in  my 
text,  p.  19. 

[1778-9.]  Pianta  di  Roma  e  del  Campo  Marzo.  F.  600.  G.  30.  xx  (Catalogue  of  1792). 
XVI  (Catalogue  of  1800).  Dated  Sept.  15,  1778  in  catalogue  of  1792.  This  being  appro- 
*rt/«(7  it  might  not  have  been  published  until  1779.  On  4  plates  (2  for  the  plan  and  2 
for  title  and  topographical  index).  This  is  often  bound  with  later  issues  of  the  Vedute  di 
Roma. 

Posthumous.  Dimostrazione  dell'  Emissario  del  Lago  Fucino.  XXXIl  p.  29  (Catalogue  of 
1792).  xxin  (Catalogue  of  1800).  Signed  Cav.  Gio.  Batta.  Piranesi  delineo,  e  incise  a 
Faquaforti.  Cav.  Francesco  Piranesi  incise  a  bollino.  Described  in  Catalogue  of  1792 
as  '  designd  par  . .  .  Jean  Baptiste  I'an  1760,  et  achev^  par  le  Chev.  Frangois  Piranesi . . . 
en  deux  feuilles  I'ann^  1791 '.    In  2  parts  (2  plates  for  subject,  2  for  the  lettering). 


88  LIST  OF  PIRANESrS   PUBLISHED  WORKS 

Supplementary  Notes  on  certain  plates  with  ambiguous  signatures,  and  on  copies  of  the 

Vedute  di  Roma  by  Laura  Piranesi. 

Guattani,  G.  A.  Delia  Gran  Cella  Soleare  nelle  Terine  di  Antonino  Caracalla,  in  his 
periodical,  Monumenti  Antichi  Inediti,  Rome,  1788,  October,  p.  73.  After  p.  80,  a  View 
of  the  Baths  of  Caracalla  ( 7I  x  1 1 J  in.).  S  igned  :  Piranesi  F.  Lettered  below  A .  Traccia 
Oriexontale  .  . .  semicircolare.  Dated  Sbre  1788.  Numbered  upper  r. :  T.  i.  B.M.L. 
Reprinted  in  Guattani's  Roma  Descritta  ed  Illustrata,  1795  and  1805  (between  pp.  40  and 
41  in  B.M.L.  copy  of  1805  ed.  T.i  replaced  by  No.  44,  its  order  in  the  book,  and  the 
earlier  date  erased).  Attributed  by  Dr.  Thomas  Ashby  (see  Architectural  Review, 
June  1922).  I  do  not  think  the  plate  belonged  to  the  8vo  pamphlet  on  the  same  subject, 
issued  by  Guattani  in  1783.  Not  by  G.  B.  Piranesi,  but  probably  by  Francesco,  whose 
style  it  resembles. 

Venuti,  Ridolfino.  Accurate  e  succinta  Descrizione  topografia  delle  antichith  di  Roma.  Rome 
(presso  Piale)  1 824.  B.M.L.  Contains  1 1  plates,  signed  Piranesi  inc.  orfe.,  each  measuring 
about  5x7  inches,  copied  from  the  Vedute  di  Roma,  &c.  Two  of  the  same  had  appeared 
earlier  in  Raccolta  di  jo  Vedute  di  Roma  incise  da  Piranesi,  Morelli,  Pronti  ed  altri 
celebri  Bullini.  Rome  (presso  Piale)  n.d.  [after  1815].  B.M.L.,  Maps.  Dryer  in  style 
than  the  plate  in  Guatuni.  Can  they  be  by  Pietro  Piranesi,  of  whom  no  record  exists 
after  1807? 

I  would  add  that  far  better  copies  of  the  Vedute  di  Roma,  reproducing  wonderfully  in 
miniature  the  characteristics  of  G.  B.  Piranesi's  style,  are  signed  by  Laura  Piranesi  [two 
known  to  me  being  (l)  Veduta  del  Tempio  di  Cibele  nella  Pizza  delta  Bocca  delta  Verity 
5jx7|.  After  Veduta  47.  Coll.  of  M.  Achille  Chariatte,  London  (1922).  (2)  Veduta 
del  Tempio  di  Bacco  oggi  detto  S.  Urbano.  i\  x  8J  in.  After  Veduta  48.  B.M.  Chariatte]. 
I  have  also  noted  in  M.  Chariatte's  collection  several  other  smaller  unsigned  copies  of  the 
Vedute  (about  3I  x  5J  in.)  which  are  exactly  similar  in  style.  I  have  not  been  able  to  find 
whether  they  belong  to  any  book  or  series. 


LIST   OF  THE   PIRANESI   WORK 

IN  THK 

REGIA   CALCOGRAFIA,  ROME 

Transcribed  from  the  Catalogo  Generale  dei  Rami  incisi  posseduti  dalla 
Regia  Calcografia  di  Roma.     Rome,  1876. 


Transcription. 

Notes 

Descrizione 

showing   the    allotment    of  the 

deir  opera  Piranesi 

respective    volumes    to    G.    B. 

con  teste,  in  27  volumi. 

Piranesi,  Francesco  and  Pietro 

Piranesi,  and    other   engravers, 

Vol. 

Parte. 

and  giving  the  original  date  of 
publication. 

I 

Avanzi  degli  antichi  edifizi  di  Roma,  in 
78  rami,  e  12  fogli  di  testo. 

II 

Avanzi  de'  Monumenti  Sepolcrali,  in  64 

rami. 

y G.  B.  P.  and  other  etchers.  1756, 

III 

Avanzi  de'  Monumenti  Sepolcrali,  in  55 

Le  Antkhiid  Romane. 

IV 

rami. 
Ponti  antichi,  avanzi  di  teatri,  portici,  ecc, 
in  65  rami 

V 

Monumenti  dei  Scipioni,  in  6  rami,  6  fogli 
di  testo  ed  una  vignetta. 

F.P.  1785. 

VI 

I 

Tempi  di  Vesta  Madre,  della  Sibilla,  dell' 

F.  P.  1780.    Raccolta  <&'  Ttmpj 

Onore  e  della  Virtu,  in  22  rami,  8  fogli 

Antichi. 

di  testo  ed  una  vignetta. 

2 

11  Pantheon,  in  30  rami,  e  2  fogli  di  testo. 

F.  P.  1790.     Seconda  Parte  d^ 
Tenibj  Antichi. 

G.  B.  P.  1761,  and  Osstrvasioni 

VII 

Magnificenza  dell'  Architettura  romana, 

in  57  rami,  28  fogli  di  testo  e  6  vignette. 

1765. 

VIII 

I 

Architettura  e  Prospettive  inventate  ed 

G.  B.  P.  1743,  and  Optre  Varie, 

incise  del  Piranesi,  in  33  rami. 

1750. 

2 

Carceri,  in  16  rami. 

G.  B.  P.  1750,  or  earlier. 

3 

Archi  Trionfali  ed  altri  monumenti  innal- 

G.  B.  P.  1 748.   Antichitd  Romane 

zati  dai  Romani,  in  32  rami. 

tie'    Tempi   della   Repubblica. 
One  plate   by  F.P.  in  later 
edition. 

4 

Trofei  di  Ottaviano  Augusto,  in  14  rami. 

G.  B.  P.  1753. 

IX 

I 

Fasti  trionfali  e  consolari,  in  4  rami,  29 
fogli  di  testo  e  3  vignette. 

G.B.P.  1762. 

3 

Rovine  del  Castello  dell'  Acqua  Giulia,  in 
20  rami,  e  6  fogli  di  testo. 

G.B.P.  1761. 

3 

Antichitk  di  Cora,  in  13  rami,  3  fogli  di 
testo  e  3  vignette. 

G.B.P.  1764. 

X 

Campo  di  Marte  di  Roma  antica,  in  56 
rami,  e  12  fogli  di  testo. 

G.B.P.  1762. 

XI 

I 

Antichitk  di  Albano,  in  31  rami,  5  fogli  di 
testo  ed  una  vignetta. 

G.  B.  P.  1764. 

2 

Descrizione  e  disegno  dell'  Emissario  del 
lago  di  Albano,  in  1 1  rami,  e  4  fogli  di 
testo. 

G.B.P.  1762-4. 

3 

Due  Spelonche  ornate  dagli  antichi  suUc 
rive  del  lago  di  Albano,  in  13  rami, 
2  fogli  di  testo  ed  una  vignetta. 

G.  B.  P.  1762-4. 

90 


LIST   OF  THE  PIRANESI   WORK 


(continued)  : 


Transcription. 


Descrizione 

deir  opera  Piranesi 

con  testo,  in  27  volumi. 


Vol. 


XII 
XIII 

XIV 

XV 
XVI 
XVII 

XVIII 


XIX 
XX 


XXI 
XXII 

XXIII 
XXIV 


Parte. 


I  and  2 


XXV 

XXVI 

XXVII 


Candelabri,  Sarcofagi,  in  58  rami. 
Candelabri,  Sarcofagi  e  Tripodi,  in  71 

rami. 
Colonna  Traiana  ed  Antonina,  in  48  rami, 

colla  descrizione  ai  latti. 
Rovine  del  Tempio  di  Pesto,  in  21  rami. 
Vedute  di  Roma,  in  71  rami. 
Vedute  di  Roma,  in  69  rami. 

Statue  antiche,  in  42  rami. 


Teatro  d'Ercolano,  in  lo  rami,  e  12  fogli 

di  testo. 
Diverse  Maniere  di  adomare  camini,  ecc, 

in  71  rami,  s  fogli  di  testo  ed  una 

vigpnetta. 
Diversi  omati  di  pareti,  volte  e  pavimenti 

in  mosaico,  in  14  rami. 

Raccolta  di  alcuni  disegni  del  Barbieri 
detto  il  Guercino,  in  89  rami. 

La  Scuola  Italiana,  ossia  tavole  scelte  dei 
sommi  pittori  della  scuola  italiana,  in 
40  rami. 


Soggetti  diversi  e  prospettiva  della  piazza 
di  Padova,  in  28  rami,  e  uno  foglio  di 
testo. 

Pitture  della  Sala  Borgia,  al  Vaticano,  in 

12  rami. 
Amorini  e  Trofei  nella  Villa  Lante,  in  16 

rami  e  2  fogli  di  testo. 
Pitture   del  gabinetto  di   Giulio    II,  al 

Vaticano  in  14  rami. 
Pitture  di  Raflfaello,  nella  Famesina,  in 

8  rami. 
Baccanti  di  Ercolano,  in  9  rami. 

Pitture,  nella  villa  Altoviti,  in  14  rami. 

Antichitk  di  Pompeia,  in  37  rami. 

Antichith  di  Pompeia,  in  39  rami. 


Oggetti  di  uso  civile,  militare  e  religioso, 
trovati  a  Pompeia  e  ad  Ercolano,  in  34 
rami. 


Notes 


showing  the  allotment  of  the 
respective  volumes  to  G.  B. 
Piranesi,  Francesco  and  Pietro 
Piranesi,  and  other  engravers, 
and  giving  the  original  date  of 
publication. 


[G.B.P.  andF.P.  1778. 
G.  B.P.  I77S-6. 1776-7, 1779-80. 

G.  B.  P.  and  F.  P.  1778-9. 

G.  B.  P.    1748,    &c.,    including 

Piati/a  di  Jio>na,  17  jS-g,  and 

two  plates  by  F.  P. 
F.P.  1786  (plates  dated  1780-92), 

after  drawings  by  T.  Piroli  and 

others.    Includes  one  plate  by 

Andrea  Rossi. 
F.P.  1785. 

G.B.P.  1769. 


Pub.    by    F.  P.      Paris,    1808. 

Engravings  by  Elizabeth  Que- 

vanne. 
G.B.P.  1764. 

Engravings  by  D.  Cunego, 
G.  Volpato  and  others.  First 
published  by  Gavin  Hamilton. 
Rome,  1773.  The  plates 
issued  later  by  F.  P. 

Includes  G  B.  P.  Posthumous 
Dimostrasione  delC  Emissario 
del  lago  Fucino;    others  by 

F.  P.  after  Desprez,  &c. 
Engravings  by  T.  Piroli.    Pub. 

by  F.  and  P.P.    Paris,  1803. 
Engravings  by  T.  Piroli.     Pub. 

by  F.  and  P.  P.    Paris,  1803. 
Engravings  by  T.  Piroli.     Pub. 

by  F.  and  P.  P.    Paris,  1804. 
Engravings  by  T.  Piroli.    Pub. 

by  F.  and  P.  P.     Paris,  1804-7. 
Engravings  by  T.  Piroli.     Pub. 

by  F.  and  P.  P.    Paris,  1807. 
Engravings  by  T.  Piroli.    Pub. 

by  F.  and  P.  P.    Paris,  1807. 
F.P.    Paris,  1804.    After  draw- 
ings by  G.  B.  P. 
F.  and    P.P.     Paris,   1807 (?), 

(plates  dated  1804-6).    After 

drawings  by  G.  B.  P. 
F.  P.  Paris,  1807  (?),  (plates  dated 

I S05-6).    Engravings  by  F.  P., 

one  or  two  after  drawings  by 

G.  B.  P.  and  T.  Piroli. 


INDEX   TO   LIST   OF  WORKS  AND   'VIEWS 

OF   ROME" 

The  titles  of  published  works  given  in  itah'cs,  and  references  to  the  dates 
under  which  they  occur  in  the  h'st. 

The  subjects  of  the  '  Views  of  Rome '  in  Roman  type  and  references  to  the 
numbers  in  the  catalogue.  In  the  case  of  antiquities  whose  identification  varies, 
reference  is  given  both  to  the  title  now  generally  accepted  by  archaeologists,  and 
to  the  title  on  Piranesi's  plate. 

Accademia  di  Francia 24 

Adam,  Robert  and  James.     IVoris  on  Architecture 1 778 

Albano,  AntichitUdi 1 764 

Albano,  Descrizione  e  disegno  dell'  Emissario  del  Lago [1762-4] 

Albano,  Di  due  Spelonche  alia  Riva  del  Lago [l  762-4] 

Alcune  Vedute  diArchi  Trionfali:  see  Antichitd,  Romane  d«f  Tetrtfii  della  Repubblica, 
Anfiteatro  Flavio :  see  Colosseum. 

Antichitd.  d' Albano  e  di  Castel  Gandolfo 1 764 

Antichitd  di  Cora [1764] 

Antichitd  Romane 1 756 

Antichitd  Romane  d^  Tem^i  delta  Repubblica 1 748 

Acqua  Felice  :  see  Fountams. 

Acqua  Giulia  (Aqua  Julia) :  see  Fountains. 

Acqua  Paola :  see  Fountains. 

Aqua  Claudia ' 118,119 

Aqueduct  of  Nero Il8 

Arches : 

Beneventum 135 

Constantine $6, 97 

Septimius  Severus 54>  99 

Titus 55,98 

Basilica  of  Constantine  (or  Maxentius) 45>II4 

Baths : 

Caracalla  (' Terme  Antoniniane ') 76,77 

Diocletian 115,116,129 

Titus 123,  127 

Trajan 123,  127 

Bel  Lido,  with  mouth  of  Cloaca  Maxima 125 

Blac/cfriars'  Bridge 1 766 

Bridges :  see  Ponti. 

Camere  Sepolcrali ['750?] 

Cammini,  Diverse  Maniere  d'adornare  i 1769 

Campo  Vaccino :  see  Forum  Romanum. 

Campus  Martius  Antiquae  Urbis  Romae 1 762 

Capitol 38,39,111 

Capua,  Tomb  called  La  Conocchia 130 


9a  INDEX  TO   LIST  OF  WORKS 

Careen [175°] 

Casa  Aurea  di  Nerone  :  see  Basilica  of  Constantine,  and  Temple  of  Venus  and  Roma. 

Casino  Farnese 98 

Castel  S.  Angelo 29.  3° 

CharUmont,  Lettere  di  Ciustificaiione  scritte  a  Milord I7S7 

Churches : 

S.  Costanza ■ 37 

S.  Croce  in  Gerusalemme n 

SS.  Giovanni  e  Paolo 43 

S.  Giovanni  in  Laterano 8,88,117,122 

S.  Lorenzo  fuori  le  Mura 12 

S.  Maria  degli  Angeli 116,129 

S.  Maria  di  Loreto 66 

S.  Maria  Maggiore 9i  10,  87 

S.  Nome  di  Maria 66 

S.  Paolo  fuori  le  Mura 6,  7 

S.  Peter's 3.  4.  5.  loi.  102.  120 

S.  Sebastiano '3 

S.  Urbano 48.81 

Cloaca  Maxima :  see  Bel  Lido. 

C<7/o««a  .<4«/<7«««a  (Column  of  Marcus  Aurelius) [1776-7] 

Colonna  Antonina  :  see  Column  of  Marcus  Aurelius. 

Colonna  di  Antonino  Pio  e  Faustina [l779-8o] 

Colonna  di  Trajano :  see  Tro/eo, 

Colosseum 56,  57,  78,  126, 137 

Column  of  Marcus  Aurelius 52 

Cora,  Antichitd  di [1764] 

Cori  (Cora),  Temple  of  Hercules 91 

Curia  Hostilia  (Temple  of  Claudius) 43 

Curia  Innocenziana  :  see  Palazzi  (Monte  Citorio). 

Dtlla  Magnificenza  ed  Architettura  d^  Romani 1761 

De  Rotnanorum  Magnificentia  et  Architectura 1761 

Descrizione  e  Disegno  delF  Emissario  del  La^o  Albano [1762-4] 

Di  due  Spelonche  ornate  dagli  Antichi alia  Rtva  dtl  Lago  Albano    ....       [1762-4] 

Dimostrazione  delt  Emissario  del  Lago  Fucino Posthumous. 

Diverse  Maniere  d' adornare  i  Cammini 1769 

Dogana  di  Terra 3* 

Domitian,  Entrance  door  to  part  of  so-called  Villa 79 

Egeria  :  see  Grotto  of  Egeria. 

Forum  of  Augustus 42 

Forum  of  Nerva 95>  ^^^  cf.  42 

Forum  Romanum 40>  4I>  100 

Fountams  : 

Acqua  Felice 20 

Acqua  Giulia  (Aqua  Julia) -34 

Acqua  Paola 21 

Trevi 19.  I04 

Fucino,  Dimostrazione  dell'  Emissario  del  Lago Posthumous. 

Grotto  of  Egeria 80 

Cuattani,  G.  A.    Delia  Gran  Cella  Soleare  nelle  Terme  di  Antonino  Caracalla,  and 

Roma  Descritta  ed  Illustrata Supplementary  Notes,  p.  88 

Guercino,  Raccolta  di  alcuni  disegni  del  Barbieri  da  Cento  detto  il 1764 

Hadrianeum 3* 

Hadrian's  Villa 85,  90,  93,  94,  lis,  Ii3i  13'.  »32. 133.  134 


AND   'VIEWS  OF  ROME'  93 

Harbours : 

Ripa  Grande V 

Ripetta *8 

Invenzioni  Capric  di  Carceri [175"] 

Isola  Tiberina Ht 

Lapides  Capitolini  sive  Fasti  Consulares 1762 

Letter*  di  Giustificazione  scritte  a  Milord  Charlemont 1757 

London,  Blackfriars"  Bridge 1766 

Magnificenza  ed  Architettura  d^  Romani,  Delia 1761 

Magnificenze  di  Roma 1 75 1 

Mariette,OsservazionidiG.B.P.sopralalettredeM. 1765 

Mausoleum  of  Hadrian :  see  Castel  S.  Angelo. 
Monte  Cavallo  :  see  Piazze  (Quirinale). 

Monumento  erettodall'  Imperador  Tito  Vespasiano  per  aver  restaurati  gl'  Aquedotti : 
see  Porta  Maggiore. 

Nolli,  Nuova  Plant  a  di  Roma  da  G.  B. .        .        .        .     1748 

Obelisk  in  Piazza  di  S.  Giovanni  in  Laterano 53 

Opere  Varie  di  Architettura 1750 

Osservazioni  de  G.  B.  P.  sopra  la  lettre  de  M.  Mariette 1765 

Paestum :  see  Pesto. 

Palazzi : 

Accademia  da  Francia  (Salviati) 34 

Barberini sj 

Consulta 22 

Famese I07 

Monte  Citorio  (Curia  Innocenziana) 23 

Odescalchi 26 

Salviati 24 

Stoppani  (Stopani) 128 

Vidoni 128 

Pantheon 60,  82,  86,  1 36 

Pesto  (Paestum),  Di^irentes  vues  de  quelques  Restesde  trois  grands  Edifices  de  I' ancienne 

Villede [1778-9] 

Pianta  di  Roma  e  del  Campo  Marzo ['778-9] 

Pianta  di  Roma  data  in  Luce  da  G.  B.  Nolli,  Nuova 1 748 

Piazze : 

Campidoglio Ill 

Navona 16,  108 

Popolo 14 

Quirinale  (Monte  Cavallo) 15,  103 

Kotonda 17 

S.  Giovanni  in  Laterano II7 

S.  Pietro  in  Vaticano 3,  loi,  120 

Spagna 18 

Ponti : 

Lucano 68 

MoUe 64 

Salario 31 

S.  Angelo 39 

Porta  Maggiore II9 

Portico  of  Octavia  (Tempio  di  Bellona) 58,  59 


94  INDEX  TO  LIST  OF  WORKS 

Porto  di  Ripa  Grande 27 

Porto  di  Ripetta 28 

Prima  Parte  di  Architetture 1 743 

Pyramid  of  Caius  Cestius 35,36 

Raccolta  di  alcwii  disegni  del  Barbieri  da  Cento  detto  il  Guercino 1764 

Raccolta  di  JO  Vedute  di  Roma  incise  da  Piranesi,  Morelli,  Pronti  ed  altri 

See  Varie  Vedute,  1748,  under  later  editions,  and  Supplementary  Notes,  p.  88 
Raccolta  di  Varie  Vedute  1752:  see  Varie  Vedute,  &c,  1 748. 

Roma,  Nuova  Pianta  di 1748 

Roma,  Pianta  di [1778-9] 

Rovine  dell  Castello  delt  Acqua  Giulia 1761 

Sette  Bassi  ('  Domitian's  Villa ') 79 

Temples : 

Antoninus  and  Faustina 49 

Apollo  (Hadrian's  Villa) 85 

Bacchus  :  see  Churches  (S.  Costanza  and  S.  Urbano). 
Bellona  :  see  Portico  of  Octavia. 

Camenae 106 

Canopus  (Hadrian's  Villa) 9°,  131 

Claudius 43 

Concord  :  see  Temples,  Saturn. 

Cough  (della  Tosse,  near  Tivoli) 69,  70 

Cybele 47 

Deus  Rediculus  :  see  Temples  (Camenae). 
Faustina :  see  Temples  (Antoninus  and  Faustina). 

Fortuna  Virilis 46 

Hercules  :  see  Cori. 

Isis  and  Serapis  :  see  Temples  (Venus  and  Roma). 

Janus 96 

Jupiter  Tonans  :  see  Temples  (Vespasian). 

Minerva  Medica 74 

Peace  :  see  Basilica  of  Constantine. 

Portunus 47 

Salus 71 

Saturn 109,  no 

Sibyl :  see  Tivoli, 

Sol  and  Luna :  see  Temples  (Venus  and  Roma). 

Tosse 69,  70 

Venus  and  Roma 50 

Vespasian 44 

Terme :  see  Baths. 

Theatre  of  Marcellus 33 

TivoH,  Hadrian's  Villa:  see  Hadrian's  Villa. 

Tivoli : 

Temple  of  the  Sibyl 61,62,63 

Temple  of  the  Cough  (della  Tosse) :  see  Temples  (Cough). 

Villa  d'  Este 105 

Villa  of  Maecenas 65,  73,  84 

Waterfalls 75,  92 

Tombs  : 

Caecilia  Metella 67 

Caius  Cestius      ...  •  35,  36 

Conoccbia  (at  Capua) 130 

Comelii  and  Piso  Licinianus 72 

Plautii         .        • 68, 83 

Sec  also  Temples  (Camenae,  Cough,  Salus). 


AND  'VIEWS   OF  ROME'  95 

Trajan's  Column 51 

Trofei  di  Ottaviano  Augusta 1753 

Trofeo  0  sia  Magnifica  Colonna  . , .  ove  si  veggono  scolpite  U  due  guerre  dacichefalte  da 

Trajano [I77S-6] 

Varie  Vedute  di  Roma  nntica  e  Moderna 1748 

Vast,  Candelabri,  &"€. .     1778 

Vemiti,  Ridolfino.   Accurata  e  succincta  Dcscrizione  topografica  delle  AntickilA  di  Roma. 
See  Varie  Vedute,  1 748,  under  later  editions,  and  Supplementary  Notes,  p.  88. 

Villas  : 

Albani 89 

d'  Este  :  see  Tivoli,  Villa  d'  Este. 

Domitian  (so-called) 79 

Maecenas  :  see  Tivoli,  Villa  of  Maecenas. 

Pamphili 124 

Sette  Bassi 79 

Zocchi,  Giuseppe.     Vedute  delle  Ville  e  d' cUiri  luoghi  della  Toscana      ....    1744 


PLATES  IIl-LXXIV 

REPRODUCTION  OF  THE  COMPLETE  SERIES 

OF  THE 

VIEWS  OF  ROME 

AND 

SELECTED  EXAMPLES 

FROM 

PlRANESrS  OTHER  WORK 


PLATE  III 


TITLE-PAGE    OF    THE       VEDUTE    DI    ROMA     .  I,  I 


FRONTISPIECE    OF   THE       VEDUTE    DI    ROMA    .  2,    I 


PLATE  IV 


ST.  PETER  S  WITH  FORECOURT  AND  COLONNADES.     j,  I 


/„/,•.■ 


ST.    PETER  S.      INTERIOR,    WITH    THE    NAVE.  4,    I 


PLATE  V 


ST.  Peter's,  from  the  piazza  della  sagrestia.         5,  i 


S.   PAOLO   fuori   le   mura.  6,   IV 


PLATE  VI 


'T?-7^^?r?x:SSrr.^'--'*"^ 


S.    PAOLO    FUORI    LE    MURA.       INTERIOR, 


S.    GIOVANNI    IN    LATERANO.       MAIN    FACADE    WITH    PALACE    AND 
SCALA    SANTA   ON    THE    RIGHT.  8,    I 


PLATE  VII 


S.    MARIA    MAGGIORE    WITH    THE    COLUMN    FROM    THE    BASILICA    OF    CONSTANTINE 
IN    THE    FOREGROUND.  9,    I 


-,,,„„„..,,„.,„„„,,;, 1\'  «„„/,.//,„„,,, 


S.    MARIA    MAGGIORE,    WITH    THE    OBELISK    IN    THE    PIAZZA    DELL     ESQUILINO.  lO,   II 


PLATE  VIII 


S.    CROCK    IN    GERUSALEMME.  II,    II 


S.    LORENZO    FUORI    LE    MURA.  12,    H 


PLATE  IX 


S.    SEBASTIANO.  1 3,    I 


THE    PIAZZA    DEL    POPOLO.  I4,    I 


PLATE  X 


THE    PIAZZA    DEL    QUIRINALE,    WITH    THE    STATUES    OF    THE    HORSE    TAMERS    IN    SIDE 

VIEW.  15,    I 


;■//,/    ,^/  ;i  AT,.;  ■,-,,■(_  l\irr/ia  Ji'/'r^i  /r  jv:  ■.•/.:•   .  '  /  /  .'/.-^    .v.v.'...V       /  -  :^:.l:^^^''::*.j^^ 


THE    PIAZZA    NAVONA,    WITH    S.    AGNESE    ON    THE    RIGHT.  16,    II 


PLATE  XI 


(  )'  'r,'nf.r    AZ/.i    ,V/,/:Y'/  '^Z/-/  c 'v'/V. 


THE    PIAZZA    DELI.A    ROTONDA,    WITH    THE    PANTHEON    AND    OBELISK.  I  7,    I 


I'r-lhllil    ,h    l^\<i:^,!   <h      '^j'lKIIUI 


THE    PIAZZA    DI    SPAGNA.  1 8,    I 


PLATE  XIl 


THE    FONTANA    DI    TREVI.       SIDE    VIEW.  19,    I 


THE    SAME    PLATE.    WITH    ALTERATIONS    IN    THE    STATUES    AND    OTHER    DETAILS.  19,    III 


PLATE  XIII 


THE  FONTANA  DELL  ACQUA  FELICE.     20,  I 


THE  FONTANA  DELL  ACQUA  PAOLA.     21,  I 


PLATE  XIV 


THE  PALAZZO  DELLA  CONSULTA.     22,  I 


•iz^^TTLj:/^^^^': 


THE    PALAZZO    DI    MONTE   CITORIO.  23, 


PLATE  XV 


*/  '  i.:, :■:-.. lUit.  ^.iz,«i 


THE    PALAZZO    DELL'    ACCADEMIA   DI    FRANCIA    (THE    PALAZZO    SALVIATi).  24,  I 


THE    PALAZZO    BARBERINI.  2,,    I 


PLATE  XVI 


THE    PALAZZO    ODESCALCHI.  26,    I 


THE    SMALLER    HARBOUR,    CALLED    THE    PORTO    DI    RIPETTA.  28,    I 


PLATE  XVII 


'i^"^t'iu:iXtt~^.^^4^'i;'f'JiM.i'.^i1:~t^Z  '  ^  \\hii^7  Jc-i  UiW/i?  <^i.'^i\{rii  L  ntttX'  '.-.'^Z"^'.) 


THE  HARBOUR  AND  QUAY,  CALLED  THE  RIPA  GRANDE.     27,  I 


THE  SAME  PLATE.   LATER  STATE,  WITH  THE  BARGE  REMOVED.      27,  III 


PLATE  XVIII 


7,w,/.!/i'?v//,'  ,■  r:,..ir//.^ ■•■: 


THE    PONTE    AND    CASTEL    S.    ANGELO.  29,    11 


vi^-iiamm- 


VbUl   lA.    ..,,    .-.-J.     [-. 


THE    CASTEL    S.    ANGELO.  3O,    I 


PLATE  XIX 


THE    PONTE    SALARIO.  3I,    II 


)  Vi  h/ii  <  V/Ai  (f>, ',/!///,/  Ji  ■  Ut  III  (I  'I'uaSii .}  -'y./iii  '■:  Ss^ifSn. 


•THE    HADRIANEUM     (ONCE    USED    AS    A    CUSTOM    HOUSE)     IN    THE    PIAZZA    DI    PIETRA.       32,    I 


PLATE  XX 


L  -^-.,-.,'iL 


^y.fcKAi-X£; 


'/AM  nif>    III   .H,ih'i  Lf  I. 


THE    THEATRE    OF    MARCELLUS.  33,    I 


THE    FONTANA    DELL      ACQUA    GIULIA.  34,    III 


PLATE  XXI 


THE    PYRAMID    OF    CAIUS    CESTIUS,    WITH    THE    PORTA    S,    PAOLO    AND    ADJOINING 

ROAD.  35,    I 


THE    SAME    PLATE.       LATER    STATE    (WITH    PYRAMID    ENLARGED).  35,    III 


PLATE  XXII 


THE    PYRAMID    OF   CAIUS    CESTIUS.  36,    I 


..  ,-7.„r^'        i  M-^.,  «*~«.       '  K- 


S.  COSTANZA  (ERRONEOUSLY  CALLED  TEMPLE  OF  BACCHUS).      37,  I 


PLATE  XXIII 


vj,:i.;'?,rR..,„.,r.-  [ffnL:y^ 


THE    CAPITOL    AND    THE    STEPS    OF    S.    MARIA    IN    ARACOELI.  38,    I 


THE    CAPITOL,    SEEN    FROM    THE    SIDE    OF   THE    CENTRAL    STEPS.  39,    I 


PLATE  XXIV 


^ft** 


^:- 


^iii^i 


-^xi^^^'Iir'-"'™^'^''^'^  '' ''■'''   '^'  ^  ./////'.'  ')  ,?(■,■///-> 


.rte-t 


THE    FORUM    ROMANUM,    OR    CAMPO    VACCINO,     FROM    THE    CAPITOL.  4O,    I 


A    CORNER    OF    THE    FORUM    ROMANUM    WITH    THE    TEMPLE    OF    CASTOR    AND    POLLUX    IN 
FOREGROUND    LEFT.  4I,    I 


PLATE  XXV 


THE    FORUM    OF    AUGUSTUS    (ERRONEOUSLY    CALLED    FORUM    OF    NERVa).  42,    III 


tf^     '     '^  '^ 


/;■<'///./  ,W/',i  I  'iiN.i  I  b/i/iii 


ROMAN    ARCHES    AT    THE    CHURCH    OF    SS.    GIOVANNI    E    PAOLO    (FORMERLY    CALLED 
THE   CURIA    HOSTILIA).  43,    I 


PLATE  XXVI 


\,i/u/ii ,/,/  /,i/i/'/i' ,//  /'r/i •/;■  Tv/ii///'r    r/iTiifSSs^SSirer.-^'HHihi'' 


THE    TEMPLE    OF   VESPASIAN.  44,    I 


'iSv*H3iif^-^rV'--'rL.'t':^.;'.,  '//j//  1  /;/t,7/   )i  \w/  ni  i  irs\Ph^  nn  1  .\  /'uv; 


THE    BASILICA    OF    CONSTANTINE.  45,    I 


PLATE  XXVII 


I ,iii/,i  .'/'/,  I.-,.',- 


THE    SO-CALLED    TEMPLE    OF    FORTUNA    VIRILIS    (NOW    CHURCH    OF    S.    MARIA    EGIZIACA). 

46,    I 


t'cdi/Ai  ,/i/  /, /ii/'/,u/j c'//W,f  u r/,/::,t fW/fi AmiiMa I'iy-Uti.-    sL;.;.- 


THE    TEMPLE    OF    PORTUNUS  (?)     (THE    ROUND    TEMPLE    NEAR    S.    MARIA    IN    COSMEDIN). 

47.    I 


PLATE  XXVIII 


THE    SO-CALLED    TEMPLE    OF    BACCHUS,    NOW    THE    CHURCH    OF    S.    URBAN.  48,    II 


THE    TEMPLE    OF    ANTONINUS    AND    FAUSTINA.  49,    I 


PLATE  XXIX 


/u/<i    ,  '  /  tr/'Uld 


TRAJAN  S  COLUMN.      51,  I 


THE  TEMPLE  OF  VENUS  AND  ROMA  (ERRONEOUSLY  CALLED  TEMPLE  OF  SOL  AND 

LUNA).      50,  I 


PLATE  XXX 


if' 


8.44l.S-4^;jto-iS(>t4S«ip!i, 


rn 


I    I 


PLATE  XXXI 


THE   ARCH    OF    SEPTIMIUS    SEVERUS    WITH    THE    CHURCH    OF    S.    MARTINA.  54,    I 


THE    ARCH    OF    TITUS.  55,    I 


PLATE  XXXII 


THE    ARCH    OF    CONSTANTINE    AND    THE    COLOSSEUM.  56,    I 


THE    COLOSSEUM.  57,    I 


PLATE  XXXIII 


THE  PORTICO  OF  OCTAVIA  I   THE  ENTRANCE  PORCH.   EXTERIOR.      58,  I 


,ilil   i;.l   .    iV//,'    ir/^]:///iC  i-l  ('fi,l!  Ill       ;;s.--.,— :.;,• 


THE    PORTICO    OF    OCTAVIA  :    THE    ENTRANCE    PORCH.       INTERIOR.  59,    I 


PLATE  XXXIV 


THE    PANTHEON.       EXTERIOR.  6o,    I 


THE    TEMPLE    OF    THE    SIBYL,    TIVOLI,    WITH    ANOTHER    TEMPLE    RIGHT,    ONCE    USED    AS 
CHURCH    OF    S.    GIORGIO.  6l,    I 


PLATE  XXXV 


THE    TEMPLE    OF    THE    SIBYL,    TIVOLI.  63,    I 


THE    TEMPLE    OF    THE    SIBYL,    TIVOLI  :    THE    BROKEN    SIDE    OF    THE    COLONNADE.  62,    I 


PLATE  XXXVI 


THE    PONTE    MOLLE.  64,    I 


THE    SO-CALLED    VILLA    OF    MAECENAS,    TIVOLI.  65,    I 


PLATE  XXXVII 


TWO    CHURCHES    NEAR    TRAJAN's    COLUMN,    S.    MARIA    DI    LORETO    AND    SANTISSIMO 
NOME    DI    MARIA.  66,    I 


THE    TOMB    OF    CAECILIA    METELLA.  67,    I 


PLATE  XXXVIII 


THE  PONTE  LUCANO,  WITH  THE  TOMB  OF  THE  PLAUTII.     68,  I 


„i=^i^ 


•->^-:«^"Si'*' 


■Pv*- 


THE    SO-CALLED    TEMPLE    OF    SALUS,    ON    THE    ROAD    TO    ALBANO.  71,    I 


PLATE  XXXIX 


THE    SO-CALLED    TEMPIO    DELLA    lOSSE,    NEAR    TIVOLI.       INTERIOR.  7O,    I 


THE    SO-CALLED    TEMPIO    DELLA    TOSSE,    NEAR    TIVOLI.  69,    I 


PLATE  XL 


THE    TOMBS    ATTRIBUTED    TO    PISO    LICINIANUS    AND    THE    CORNELII    ON    THE 
APPIAN    WAY.  72,    I 


THE    SO-CALLED    VILLA    OF    MAECENAS,    AT    TIVOLI.       INTERIOR.  73,    I 


PLATE  XLI 


THE    SO-CALLED    TEMPLE    OF    MINERVA    MEDICA.  74,    I 


THE    WATERFALL    AT    TIVOLI.  75,    I 


PLATE  XLII 


THE    BATHS    OF    CARACALLA,       BIRD's-EYE    VIEW.  76,    I 


THE    BATHS    OF    CARACALLA.       INTERIOR    OF    THE    CENTRAL    HALL.  77,    I 


PLATE  XLIII 


THE    COLOSSEUM.       INTERIOR,  78,    II 


ENTRANCE    DOOR    TO    PART    OF    THE    VILLA    CALLED    THE    SETTE    BASSI,  79,    I 


PLATE  XLIV 


THE    SO-CALLED    GROTTO    OF    EGERIA.  8o,    I 


THE    SO-CALLED    TEMPLE    OF    BACCHUS,    NOW    THE    CHURCH    OF    S.    URBAN. 
INTERIOR.  8l,    II 


PLATE  XLV 


I  S.m~,.^J.t.d^^-/^~^.-i 


THE  PANTHEON.   INTERIOR  OF  THE  PORTICO.      82,  I 


THE  TOMB  OF  THE  PLAUTII,  NEAR  THE  PONTE  LUCANO.      83, 


PLATE  XLVI 


THE    SO-CALLED    VILLA    OF    MAECENAS    AT    TIVOLI.       INTERIOR.  84,    I 


Hadrian's  villa,     remains  of  the  smaller  palace  (formerly  called 
temple  of  apollo).         85,  ii 


PLATE    XLVII 


THE    PANTHEON.       INTERIOR.  86,    I 


S.    MARIA    MAGGIORE.       INTERIOR.  87,    I 


PLATE  XLVIII 


S.    GIOVANNI    IN    LATERANO.       INTERIOR.  88,    I 


THE    VILLA    ALBANI.  8q,    I 


PLATE  XLIX 


HADRIAN  S    VILLA  :    THE    CANOPUS.  90,    II 


THE    SO-CALLED    TEMPLE    OF    HERCULES,    AT    CORI.  91,    II 


PLATE  L 


te       >■      .--^^ 


THE    SMALL    WATERFALL    AND    RAPIDS    AT    TIVOLI.  92,    II 


HADRIAN'S    VILLA  :    THE    CENTRAL    ROOM    OF    THE    LARGER    THERMAE.  93,    I 


PLATE  LI 


HADRIAN'S    VILLA  :    THE    SO-CALLED    POECILE,  94,    II 


THE    FORUM    OF    NERVA.       INTERIOR    OF    ENCLOSURE    WALLS    WITH    THE    TWO    HALF- 
BURIED    CORINTHIAN    COLUMNS.  95,    H 


PLATE  LI  I 


THE    ARCH    OF    JANUS    (jANUS    QUADRIFRONS),    WITH    THE    ARCH    OF    THE    MONEY- 
CHANGERS. 96,    I 


THE    ARCH    OF    CONSTANTINE.  97, 


PLATE  LI  1 1 


THE    ARCH    OF    TITUS,    WITH    THE    CASINO    FARNESE    ON    THE    LEFT.  98,    II 


THE    ARCH    OF    SEPTIMIUS    SEVERUS.  99,    I 


PLATE  I.IV 


THE    FORUM    ROMANUM,    OR    CAMPO    VACCINO,    WITH    THE    TEMPLE    OF    ANTONINUS 

AND    FAUSTINA    IN    THE    FOREGROUND    LEFT,     AND    THE    TEMPLE    OF 

CASTOR    AND    POLLUX     RIGHT.  I OO,    II 


ST.    PETER'S    WITH    FORECOURT    AND    COLONNADES.  lOI,    I 


PLATE  LV 


ST.      PETERS.       interior:     BENEATH    THE     DOME.  I02,     11 


THE    PIAZZA    DEL    QUIRINALE,    WITH    THE    STATUES    OF    THE    HORSE-TAMERS    SEEN 
FROM    THE    BACK,  IO3,     I 


PLATE  LVI 


THE    FONTANA    DI    TREVI.       FRONT    VIEW.  1 04, 


THE    VILLA    D  ESTE,    TIVOLI.  IO5,    I 


PLATE  I.VII 


THE    TEMPLE    OF    THE    CAMENAE    (ALSO    CALLED    TEMPLE    OF    DEUS    REDICULUS).  I06,    II 


THE    PALAZZO    FARNESE.  IO7, 


PLATE  LVIII 


THE    PIAZZA    NAVONA,    WITH    S.    AGNESE    ON    THE    LEFT.  I08, 


THE    PIAZZA    DEL    CAMPIDOGLIO.  Ill,    I 


PLATE  MX 


THE    TEMPLE    OF    SATURN,    WITH    A    CORNER    OF    THE    ARCH    OF    SEPTIMIUS    SEVERUS    IN 
THE    FOREGROUND.  1 09,    I 


THE    TEMPLE    OF    SATURN,    WITH    THE    ARCH    OF    SEPTIMIUS    SEVERUS    IN    THE    BACK- 
GROUND. I  10,    I 


PLATE  LX 


HADRIANS    villa:    THE    APSE    OF    THE    SO-CALLED    HALL    OF    THE    PHILOSOPHERS.  112, 


HADRIANS    villa:    REMAINS    OF    THE    SO-CALLED    PRETORIO.  I  I  3,    I 


PLATE  LXI 


THE    BASILICA    OF    CONSTANTINE,    WITH    A    STREET    SEEN    THROUGH    ARCHES    ON    THE 

LEFT.  I  14,    I 


THE    BATHS    OF    DIOCLETIAN:    INTERIOR    OF    FRIGIDARIUM,    SOUTH    WALL.  I  1 5,    I 


PLATE  LXII 


THE    BATHS    OF    DIOCLETIAN,    SHOWING    THE    CHURCH    OF    S.    MARIA    DEGLI    ANGELI 
AND    THE    PIAZZA.  Il6,    I 


THE    PIAZZA    AND    BASILICA    OF    S.    GIOVANNI    IN    LATERANO    (SIDE    FACADE)   :    WITH 
THE    OBELISK,    PALACE,    AND    SCALA    SANTA.  I  I  7,    II 


PLATK  I.XIII 


THE    AQUEDUCT    OF    NERO    LEADING    TO    THE    PALATINE  ; 
AQUA    CLAUDIA.  I  1 8,    II 


A  BRANCH  OF  THE 


THE  PORTA  MAGGIORE,  ORIGINALLY  AN  ARCHWAY  OF  THE  AQUA  CLAUDIA  AND  THE 

ANIO  NOVUS.      119,  I 


PLATE  LXIV 


ST.  Peter's,  with  forecourt  and  colonnades,     bird's-eye  view.         120,  i 


THE    ISOLA    TIBERINA,    WITH    S.    BARTOLOMMEO    IN    THE    FOREGROUND.  121,    I 


PLATE  LXV 


S.  GIOVANNI  IN  LATERANO. 


THE  MAIN  FACADE  WITH  THE  CAMPAGNA  ON  THE 
LEFT.      122,  II 


THE  BATHS  OF  TRAJAN  (ERRONEOUSLY  CALLED  THE  BATHS  OF  TITUS).      I23,  I 


PLATE  LXVl 


THE  VILLA  PAMPHILI.      1 24,  I 


THE  TIBER  AT  THE  MOUTH  OF  THE  CLOACA  MAXIMA,  FORMERLY  CALLED  THE  BEL 

LIDO.      125,  I 


PLATE  LXVII 


THE    COLOSSEUM.       BIRD's-EYE   VIEW.  1 26,    II 


THE    BATHS   OF   TRAJAN    (ERRONEOUSLY    CALLED    THE    BATHS    OF   TITUS.)  1 27,    II 


PLATE  LXVin 


THE    PALAZZO    VIDONI    (FORMERLY    CALLED    THE    PALAZZO    STOPPANi).  1 28,    I 


S.    MARIA    DEGLI    ANGELI. 


INTERIOR.       FORMERLY    THE    CENTRAL    HALL    OF    THE    BATHS 
OF   DIOCLETIAN.  1 29,    I 


PLATE  LXIX 


THE    TOMB    CALLED    LA    CONOCCHIA,    ON    THE    VIA    APPIA,    NEAR    CAPUA.  I  3O,    I 


HADRIAN  S    VILLA  :    THE   CANOPUS.      INTERIOR.  I3I,    I 


PLATE  LXX 


HADRIANS    villa:    THE    PIAZZA    D'ORO.  1 32,    I 


HADRIAN'S    VILLA  :    THE    SO-CALLED    HELIOCAMINUS    (a    CHAMBER    FOR    WINTER 
HABITATION    HEATED    BY    THE    SUN),  1 33,    I 


PLATE  LXXI 


HADRIANS    villa:    A    HALL    IN    THE    SO-CALLED    ACCADEMIA.  I  34,    1 


THE    ARCH    OK    BENEVENTUM.  1 35,    II 


PLATE  LXXII 


PLATE  15  FROM  THE   CARCERI  .   EARLY  STATE 


PLATE  I  5  FROM  THE   CARCERI  .   LATER  STATE 


PLATE  LXXIII 


THE    ARCH    OF    GALLIENUS    FROM    THE    '  ANTICHItA    ROMANE    DE'    TEMPI    DELLA 
REPUBBLICA  ',     I  748,       EARLY    STATE 


I'lnilfo    ili    Sail-     oniLtUt     ill     ill,l,ll,i/hii      ■InlliMluni .   /,■    i/iiali     slimiir    ,/,../.,.,,/.■    //;    ni.ub     ,/;,•    ,,„i,lii,-ii,i.- 
II    riiri    piitflLy    e    spi'i'iniincnL'    aii    una    l(.ottuhtii    cnc    .fm'r    iht    rtinnri'svnkin/.i'    Uiilrii/i  , 


'  GRUPPO    DI    scale',    plate    II     FROM    THE    'PRIMA    PARTE    DI    ARCHITETTURE,     1 743 
RE-ISSUED    IN    THE    '  OPERE    VARIE  ',     I  75O 


PLATE  LXXIV 


INTERNAL    ELEVATION    OF    AN    ANCIENT    RESERVOIR    IN    THE    VINEYARD    FORMERLY 
BELONGING    TO    THE   JESUITS    BELOW    CASTEL    GANDOLFO.       PLATE    22    FROM 
THE   '  ANTICHItA    d'aLBANO    E    DI    CASTEL   GANDOLFO  ',    1 764 


INTERIOR   OF  THE   SO-CALLED   TEMPLE   OF   NEPTUNE.      PROOF  OF  A   REJECTED   ETCHING 
FOR   PLATE    12    OF  THE  SERIES   OF   '  VIEWS   OF   PAESTUM  ',     1 778. 
FROM    AN    IMPRESSION    IN  THE    BRITISH    MUSEUM 


NE  662  .P5  H5  1922 

snc 

Hind,  Arthur  Mayger, 

1880-1957. 
Giovanni  Battista 

Piranesi  :  a  critical 
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